NAVIDAD: A SPANISH CHRISTMAS

Pieces marked with an asterisk are translated in the program.

Hanacpachap cussicuinin * Juan Bocanegra (1598-1645) Xicochi * Gaspar Fernandes (c.1570-1629) Chacona in C Ribayaz (c.1650-1700) Anonymous arr. Julia Seager-Scott Tleycantimo choquiliya * Gaspar Fernandes

Serafín que con dulce harmonía* Joan Cererols (1618-1680) with Marizápalos variations Anon. (17th c.) Riu, riu, chiu * Anon. (16th c.)

From Navidad nuestra Ariel Ramírez (1921-2010) Los Pastores * Los Reyes Magos * La Huida *

INTERMISSION If you have chosen to pre-order your refreshments, please go directly to the “pre-order pick-up” table.

A un niño llorando* Francisco Guerrero (1528-1599) Virgen sancta* Francisco Guerrero Xácaras Anon. (17th c.) Hombres, victoria* Francisco Guerrero

Canten dos jilguerillos* Francisco Escalada (fl. 1670’s) Ay, galeguiños, ay que lo veyo* Fabián Ximeno (c. 1595-1629) Gaitas & Folías gallegas based on Santiago de Murcia (c.1682-c.1740)

Los que fueren de buen gusto* Francisco de Vidales (c. 1630-1702) Ay andar, andar* Juan de Araujo (1646-1712) Tonight’s Performers are: Staff & Administration The Toronto Consort David Fallis, Artistic Director Michelle Knight, Managing Director Adam Thomas Smith, Director of Michele DeBoer, soprano Audience Engagement and Education David Fallis, Artistic Director, tenor Nellie Austin, Bookkeeper Ben Grossman, percussion Kiran Hacker, Graphic Designer Katherine Hill, soprano Yara Jakymiw, Season Brochure Graphic Designer Paul Jenkins, tenor, organ Martin Reis, Derek Haukenfreres & Ruth Denton, Box Office Terry McKenna, renaissance and Peter Smurlick, Database Consultant guitar, lute Gordon Baker, Stage Manager Alison Melville, recorder Cecilia Booth, Front of House, Volunteer Coordinator John Pepper, bass Gordon Peck, Technical Director Sabrina Cuzzocrea, CD Sales and Event Assistant with special guests Heather Engli, Touring

Rodrigo Chavez, percussion, churango Lucas Harris, renaissance and baroque guitar Board of Directors Julia Seager-Scott, baroque harp Vicki St. Pierre, mezzo-soprano Heather Turnbull, President Dominic Teresi, bajón Ann Posen, Past President John Ison, Treasurer Frances Campbell, Secretary Harry Deeg Trini Mitra Sara Morgan Anita Nador Tiffany Grace Tobias Andrea Whitehead The Toronto Consort is a Proud Member of Follow us on Facebook and Instagram! @TorontoConsort

427 Bloor Street West, Toronto ON M5S 1X7 Box Office 416-964-6337 Admin 416-966-1045 | [email protected]

TorontoConsort.org bloorstculturecorridor.com Forty-five Years Young!

It wasn’t long before the Consort was touring across Canada (including a memorable trip to Baffin Island in 1978), the US and Europe. Recordings were made (the group now has almost twenty recordings on various labels) and the Toronto audience steadily grew.

After Prof. McGee left the ensemble, the artistic direction was shared by members of the ensemble, including Garry Crighton, David Klausner and Alison Mackay. With the departure of Top Row: David Fallis, Alison Melville, Michele DeBoer, John Pepper, Paul Jenkins some of these key contributors, David Bottom Row: Katherine Hill, Terry McKenna, Laura Pudwell, Ben Grossman Fallis assumed the role of artistic Photo Credit: Paul Orenstein director, and the ensemble has reached new and larger audiences As part of The Toronto Consort’s 45th Anniversary through its Toronto series, its tours, Season, we thought it would be an appropriate time educational work, recordings (including work in TV to reflect briefly on the storied history of one of and film), and world premieres of contemporary Canada’s most successful chamber ensembles, and a music. leading voice for early music in our world. Can one choose favourite moments over such a First of all, we were intrigued: what motivated period? Not easy, but here are few highlights: founding Artisic Director Timothy McGee to start such a group back in 1972? We caught up with him recently, • performing in some of the world’s great concert and he explained that as a young professor whose halls, like the Musikverein in Vienna, or the Purcell area of scholarly research was the performance of Room in London music before 1650, he had very practical reasons for • bringing Janet Cardiff’s world-renowned sound wanting to hear the music. installation “Forty-part Motet” to TSP, followed by performances of Tallis’ Spem in alium to capacity “The Consort was my vehicle for experimenting with audiences, with singers ranged around the basic problems of performance (which at the time balconies were still a mystery) such as tempo, instrumentation, • staging a new translation of the medieval ornamentation, and even such elementary details as masterpiece of music theatre The Play of Daniel where and when to sing the text. Each new program with young people at the centre of the production brought forth new performance questions and • discovering, performing and recording music everyone pitched in. We were fortunate that Toronto which has so rarely been heard but is so beautiful was just the right place to establish such a group; • working with master musicians from around the there already existed a sizable number of people world, and Canadian First Nations artists in an who were interested in early music and anxious to evening like “Kanatha/Canada: First Encounters” attend our concerts, which was very encouraging. Their enthusiasm for hearing the early repertory Do you have a favourite memory of The Toronto matched our enthusiasm for exploring the repertory, Consort? Share it with us on Facebook or email us a combination that has continued to mark the success at [email protected] of the Consort.” PROGRAM NOTES

Welcome to “Navidad”, a concert of music place, none more attentive than these people, from Spanish-speaking nations on both sides for there is no church they will not visit, nor of the Atlantic from the 16th, 17th and early do they mind getting up in the middle of the 18th centuries. All the vocal works on tonight’s night in the freezing cold just to hear them.” program are what are known as , a In the 17th-century , the influence distinctively Spanish song form that has enjoyed of dance music was pervasive. At the time, many a long history of popularity across Spain and Latin Spanish dances were actually dance-songs with America continuously from the late 15th century words. Some of the most famous dances of the to the present. Villancicos almost always have a time, including xácaras, marizápalos, chaconas, popular aspect to them; the term itself derives and villanos, were often performed with a text, from the diminutive of villano (meaning peasant). frequently as part of a theatrical evening in They typically consist of a refrain (estribillo) and a which the entr’actes were made up of dance- series of verses (coplas) in a variety of repetition songs performed by the actors. As Maurice schemes. In the beginning they were mainly Esses writes in his seminal study Dance and secular, but in the 16th century, under the influence Instrumental Diferencias in Spain during the 17th of widespread popular devotion inspired by the and early 18th Centuries, “In practice there is no Counter-Reformation, many sacred villancicos clear distinction between dance and song in appeared, which either were reworkings of secular Spain in the 16th, 17th and 18th centuries. On the models, or were written explicitly for use within the one hand, many of the dance-names refer to context of the church year. They were particularly types of verse or particular poems. On the other important for celebrations of major Catholic feasts, hand, song texts are often adopted for dancing… especially Corpus Christi, Assumption of the Virgin In addition many vocal settings of villancicos Mary, Epiphany, and Christmas. By the 17th century are related in some unspecified manner to they had supplanted the Latin motet in number particular dances.” In some ways, a villancico and importance for Spanish composers, and could be a dance; the fact that it had words thousands of them were written throughout Spain did not distinguish it from many other dance and Latin America. When important musical posts forms. There are also numerous references to such as that of maestro di capilla came vacant, people actually dancing to villancicos, sometimes the search committee would put candidates to the consternation of church authorities through a series of tests, which usually included (although dancing in church was not unusual writing a villancico in a short time. New ones were in Spain and Latin America. More depended on expected each year, and even more villancico texts the appropriateness of the style of dancing.) survive than the thousands of musical settings. Not surprisingly, given their long period Not everyone appreciated their popular of influence and popularity, villancicos show appeal. Pedro Cerone, in a famous 17th-century considerable variety in form and style. Some treatise, decried villancicos that “turn God’s church were perhaps even accompanied by actions into a public theatre or recreation room”. On the or stage movements; these are often called other hand, he could not deny their effectiveness juguete, the modern Spanish word for “toy”. in getting people to come to church to hear the (Ay andar is designated as a juguete.) Others music. “There are some people so lacking in are designed as lullabies; known as rorros piety that they attend church but once a year in Spanish, they are delightful renderings of because they are too lazy to get up out of bed. cradle songs for the infant Jesus. Still others are But let it be known that there will be villancicos, designated by their distinctive dance rhythms, and there is no one more devout in the whole such as the xácara found in Los que fueren. Dance music was much loved by Spanish composed to be sung in processions as they composers and there are hundreds of sources of [the native parishioners] enter their churches variations on basic dance forms. These variations, on Lady-days”. Tleycantimo is written in mestizo, known as diferencias, could be written for harp, in this case a mixture of Spanish and Náhuatl. guitar, organ (the harpsichord was decidedly At the end of the first half, we perform music less favoured in Spain than the rest of Europe), by the late Argentinian composer Ariel Ramírez. melody instruments such as the recorder or Ramírez was a composer, pianist and music bajón (a double-reed instrument similar to a director who had a deep interest in the traditional bassoon), or the distinctively Spanish plucked- musics of South America, and the ethos of folksong string instrument known as the vihuela (an affected his own compositions profoundly. His instrument shaped like a guitar, but tuned like a 1964 work, Navidad Nuestra, with words by the lute). We have created our own sets of variations writer and historian Félix Luna, was written in for the instrumental music on the program, the manner of South American dance/villancicos. drawn especially from collections by Santiago From the chaya riojana in “Los Pastores”, to de Murcia, two of whose most important guitar the somber vidala tucumana in “La Huida”, anthologies have been discovered in Latin America, Ramírez evokes a wide range of expressions leading many scholars to suspect that he must from traditional Argentine music. Like so many have had close associations with the continent. traditional villancicos, which paid no attention When Europeans “discovered” the Americas in to the historicity of 1st-century Bethlehem, Luna the 15th, 16th and 17th centuries, they encountered locates the stories of the nativity in the north of a dizzying array of cultures, languages and his native Argentina, alluding to the moon of the traditions. The Spanish, colonizing much of Rioja in the poem about the adoration by the Central and South America, often remarked shepherds, or the offering by the three kings of a on how important and sophisticated music- poncho blanco de alpaca real (a white poncho of making was among many native peoples, the finest alpaca). There are references to local and early in the period of contact, Franciscan instruments such as cajas, guitars and bombo missionaries recognized the role music could legüero, and to drinks made from the algarrobo play in proselytization. As the friars established blanco tree – aloja (beer), añapa (a non-alcoholic churches and missions, the services were soon beverage) and arrope (a thick, sweet syrup). filled with native musicians, singing and playing Many thanks to Rodrigo Chavez for suggesting music of the , in a way which also we include some of this wonderful music. incorporated some of their own traditions. In the second half, we include music by The first three vocal pieces have texts that Francisco Guerrero, one of the finest composers incorporate native languages, at least as they of the Spanish Renaissance. Unlike his com- were written down by Spanish scribes. Xicochi is a patriots Morales and Victoria, who composed haunting lullaby written in Náhuatl, and found in almost exclusively to Latin texts, Guerrero wrote a manuscript in Cathedral. Hanacpachap a large body of vernacular pieces that he called cussicuinin is the first piece of vocal polyphony variously villancicos or villanescas espirituales. written in the Americas. It is in Quechua, the They are remarkably varied, and, despite being language of the Incas, spoken today in various written in sophisticated five-part polyphony, dialects by perhaps some 10 million people display a straightforward accessibility in their throughout South America, including Peru, melodic gestures and rhythms. It may have been south-western and central Bolivia, southern this popular strain which made his works widely Colombia and Ecuador, north-western Argentina performed in Latin America: copies of his music and northern Chile. In its various forms, it is the were written out for use in Cathedral most widely spoken language of the indigenous throughout the 17th and 18th centuries, and as late peoples of the Americas. Hanacpachap is found as 1864 we hear of an order to rebind a volume in a liturgical book printed in Lima in 1631, in of his masses in Lima Cathedral. which it is explained that the piece “has been David Fallis Some Favourite Memories!

What would a 45th Anniversary celebration be From Michele DeBoer without a trip down memory lane? We asked members of the ensemble to share a favourite On a cold Friday concert memory from their time performing with The night in December Toronto Consort. Here are a few – enjoy! 2005, I was around 37 weeks pregnant with my From John Pepper first child, and feeling pretty worn out. The Picking my favourite music (a Monteverdi Consort memory program), however, from so many is an was invigorating, and impossible task. One I thoroughly enjoyed especially rich singing the show. At the end, after waddling experience was an all- wearily off stage in my men’s size 10 black slippers Monteverdi evening (the only things I could get on my swollen feet) sometime in the 1990s, I realized that I wasn’t going to make it back out including Lamento for a second bow. Who was to know that by the d’Arianna in the five- time I got home that night, my incredible daughter voice madrigal version, one singer to a part. would be ready to make her grand entrance? I’ll It lacks one movement from the solo version, never forget my husband, Esteban, making the call but it’s still wonderful, and it was a privilege to David early the next morning to let him know to do it with such a fine group. Monteverdi that she had safely arrived - and that I wouldn’t is one of the greatest of all vocal composers, be at the repeat of the Monteverdi concert that and that’s why I’m looking forward to revisiting night! David’s response was classic - enthusiasm his opera Orfeo at the end of this season. and well-wishes, followed by a quietly panicked “well - I should go. I have a lot to do!” He managed From Alison Melville to secure Suzie LeBlanc for that night, which was some sort of miracle! This year, Antonia There are many celebrates her 12th birthday on December 10th. I moments to remember love that I share the special memory of her birth from our tours. It is a with so many in our Toronto Consort audience! wonderful opportunity to meet lots of new Look to our next house program for people and play for such more memories from the ensemble! enthusiastic audiences from around the country, and it’s often a lot of fun. We often find ourselves in unusual venues, and this photo comes from one not far from Halifax, NS. It was a venerable old bank building which had been converted into a theatre which hosted guest performers but Do you have a favourite memory of also an active community theatre group. What The Toronto Consort? Share it on was assigned as our green room appeared to Facebook @TorontoConsort or be that theatre group’s costume department, email [email protected]. so of course some costumes were tried on, and hilarity ensued. For example - The Four Amigos. 45th Anniversary Online Auction Discover arts, culture, food, drink, and a motorcycle ride!

The Toronto Consort’s 45th Anniversary online auction features a multitude of incredible organizations and experiences for you and your loved ones to share. In the process of purchasing incredible items and experiences for discounted prices, you’ll be supporting the Consort’s education and outreach programs.

A uction Items include:

Art Gallery of Ontario General “Sapphire” The Toronto Consort’s Admissions 45th Anniversary Quilt Aga Khan Museum One-year Sound Streams Tickets membership Tawse Winery Tour Barreworks 5-Class Pass The Royal Conservatory of Music Bodum 3-Piece Copper French Press Music Appreciation Course BMV Gift Card Zalto Bordeaux Glasses (6) Canadian Opera Company $200 voucher Tafelmusik Baroque Orchestra Tickets Corkcicle wine chiller Tarragon Theatre Tickets David’s Tea Set The Royal Conservatory tickets Harley-Davidson Motorcycle Rental Toronto Chamber Choir Tickets Heritage Toronto Membership Toronto Maple Leaf Tickets Hot Docs Festival 10-Pack Toronto Masque Theatre Tickets Italian Language Course from and more! The Istituto Italiano di Cultura Toronto Medieval Manuscript Tour with David Fallis To view and bid on items visit: Mirvish Productions Tickets www.32auctions.com/torontoconsort Musical Instrument Tour with Alison Melville Auction closes Tues., Dec. 12 at 1pm. Opera Atelier Monteverdi’s The Return of Ulysses Tickets Rechargeable cork screw TEXT & TRANSLATIONS

Hanacpachap cussicuinin

Hanacpachap cussicuinin, The bliss of Heaven, Huaran cacta muchas caiqui, I will worship you a thousandfold, Yupairuru pucocmallqui, revered fruit of a mature tree, Runa cunap suyacuinin, long awaited by your people, Callpannacpa quemicuinin, protection of spiritual strength, Huaciascaita. heed my call.

Hucha çupai ayquencampac To escape from the sins of the devil Yanapahuai callpaiquihuan, help me with your strength, Hinaspari huahauiquihuan so that I your child, Cai huacchaiquip cainancampac this orphan of yours, Mana tucoc cauçancanpac. will have existence and life everlasting. Athauchahuai. Bring me fortune.

Cori collca, collquechahuai Increase my store of gold and silver, being well Titu yachac, huacaichanca provisioned, it will be stored up. Capac micui aimuranca There will be great food harvests. Muchuncaita, amachahuai Defend me from famine. Allin caipiçamachihuai. Let me rest well here. Quespincaipac. For my salvation.

Gloria cachun Dios yayapac Dios churipac hinallatac May there be glory for the Lord Sancto Espiritu pac huantac and for his Son likewise Cachun gloria viñaillapac and also for the Holy Ghost; Cauçaicunap cauçainimpac may there be glory for all eternity; Cusicachun. Amen. for the life of all sustenance may there be delight. Amen. Xicochi conetzintle

Xicochi, xicochi, conetzintle caomiz hui hui joco Go to sleep, go to sleep, little babe, caomiz hui in angelos me, alleluya. hui* as the angels play music, alleluia. (* Náhuatl words, translation uncertain)

Tleycantimo choquiliya

Tleycantimo choquiliya, mis prasedes, mi apission. To you we sing, oh little flower, my joy, my heart’s Alleyoya, alleloya, alleloya. desire. Alleluia, alleluia, alleluia.

Dejalto el llando creçida mizalto el mulo y el guey. Suddenly, his crying grew, as the mule and the ox Jimoiol lali mi rey looked on. tleinmiz tolinia mi bida. There my king lay moaning, my life. No se porque de neis pena Why you are sad I cannot tell, tan linto cara de rosa, oh lovely, rosy-faced child, noe pihol lochin niño hermosa my beautiful boy, no chalchiuh asojena. my lily. Jesos de mi goraçon Oh Jesus of my heart, no lloreis mi pantasia. don’t cry, my heart’s desire. Serafín, que con dulce armonía

Serafín, que con dulce armonía Seraphim, you who with sweet harmony la Vida que nace requebrando estás; are paying court to the new-born Life, cántale glorias mirándole en penas, sing of glory to him as you watch him suffer, que amante y quejoso, su alivio es un ¡ay! for in his love, his sole comfort is a sigh. ¡ay, ay, ay! Ah, ah, ah!

Tan fragrantes, lucientes y bellas From afar in heaven and earth, en cielo y en tierra distantes se ven fragrant, gleaming and beautiful, las estrellas vestir de colores, the stars seem to be bedecked with colours, las flores brillar y las selvas arder. the flowers seem to gleam and the woodlands En albergue, aunque pobre dichoso sparkle. In a stable, blessed though poor, en nuevos afectos se mira esta vez now shine with renewed affection una luna que alumbra el empíreo, a moon lighting up the heavens y un sol que de aljófar guarnece sus pies. and a sun embellishing his feet. ¡Ay, ay, ay! Ah, ah, ah!

Hoy el hombre suspenso y absorto Today man, amazed and spell-bound, ignora, cobarde, lo mismo que ve: fails to grasp what with his very eyes he can see; pues mirar tan divino lo humano for the sight of humanity made so divine es cosa que apenas se puede entender. is something which almost passes understanding. Una noche de siglos tan largos A night of time so infinite dobladas las luces habrá menester, must needs have twice as many lights, y por eso amanecen dos soles and so two suns rise que bañan de luz el portal de Belén. to bathe the gate of Bethlehem in light.

Serafín, que con dulce armonía… Seraphim, you who with sweet harmony…

Riu, riu, chiu

Riu, riu, chiu, la guarda ribera, Riu, riu, chiu, the shepherd by the riverside, Dios guardo el lobo de nuestra cordera. God protected our lamb from the wolf. El lobo rabioso la quiso morder, The rabid wolf tried to bite her, mas Dios poderoso la supo defender. but almighty God knew how to defend her: Quisole hazer que no pudiesse pecar, he willed it so that she could know no sin. ni aun original esta Virgen no tuviera. Even original sin did not touch this virgin.

Este que es naçido es el gran Monarcha, The one who is born is the great monarch, Christo patriarca de carne vestido. the father Christ clothed in flesh. Hanos redemido con se hazer chiquito; He has redeemed us by making himself small; aunque era infinito, finito se hiziera. even though he was infinite, he made himself finite.

Yo vi mil garçones que andavan I saw a thousand young men who went along cantando, singing, por aqui bolando, haziendo mil sones, flying about, making a thousand sounds, diziendo a gascones ”Gloria sea en el saying to the Gascons, “Glory be in cielo, heaven, y paz en el suelo pues Jesús nasçiera”. and peace on earth for Jesus is born”.

Este viene a dar a los muertos vida, He comes to give life to the dead, y viene a reparar de todos la caida. and to redeem all from the fall. Es la luz del dia a queste moçuelo; It is the light of day which shines in this little fellow; este es el cordero que San Juan dixera. this is the lamb of whom Saint John spoke. Pues que ya tenemos lo que deseamos; Since now we have what we desired, todos juntos vamos presentes llevemos. let us all go together to present our gifts. Todos le daremos nuestra voluntad, Let us all give him our will, pues a se igualar con el hombre viniera. for he has come to be at the same level as humankind.

Los Pastores

Vengan pastores del campo Come shepherds of the fields que el rey de los Reyes ha nacido ya. because the king of kings has been born. Vengan antes que amanesca Come before the dawn. It’s already light que ya apunta el día y la noche se va. and the night will soon be fading. Albahaca y cedrón, tomillo y laurel, Basil and lemon verbena, thyme and laurel, que el niño se duerme al amanecer. may the child sleep until daybreak.

Lleguen de Pinchas y Chuquis, Come from Pinchas and Chuquis, from Aminga, de Aminga y San Pedro, de Arauco y Pomán. San Pedro, Arauco and Pomán. Before anyone else Antes que nadie le adore they will pay tribute, bringing quesillos (puddings) and quesillos y flores le vamu a llevar. flowers. Albahaca y cedrón… Basil and lemon verbena…

Pídanle a Julio Romero Ask Julio Romero for Peruvian horses caballos de paso y su mula de andar. and pack mules. Con cajas y con guitarras With cajas (hand drums) and guitars, iremos cantando por el olivar. we’ll sing through the olive groves. Albahaca y cedrón… Basil and lemon verbena…

Ay navidad de Aimogasta! Oh, Christmas in Aimogasta (NW Argentina)! Aloja y añapa no habrá de faltar. We have plenty of aloja (liquour) and añapa (dessert), Mientras la luna riojana while the La Rioja moon se muere de ganas de participar. is dying to join in. Albahaca y cedrón… Basil and lemon verbena…

Los Reyes Magos

Llegaron ya, los reyes y eran tres: They had arrived, the kings, and there were three: Melchor, Gaspar y el negro Baltazar Melchior, Caspar and the black Balthasar. Arrope y miel le llevarán Syrup and honey they will bring him Y un poncho blanco de alpaca real. and a white poncho of royal alpaca. Changos y chinitas duérmanse Fall asleep little boys and girls Que ya Melchor, Gaspar y Baltasar so that Melchior, Caspar and Balthasar Todos los regalos dejarán can leave out all the gifts Para jugar mañana al despertar. for you to play with when you wake up.

El Niño Dios muy bien lo agradeció The God Child was really pleased. Comió la miel y el poncho lo abrigó He ate the honey and wrapped himself in the poncho. Y fue después que los miró And afterwards he saw them, Y a medianoche el sol relumbró. and the sun shone at midnight. La Huida

¡Vamos! ¡Vamos! ¡Burrito apura! Come on! Come on! Hurry up little donkey!

Si no te apuras los van a pillar If you don’t hurry up they will catch them Largo el camino, largo el salitral. along the path, along the salitral (salt flats). Ya tocan a degollar, They are already slitting throats, Ya está sangrando el puñal. the dagger is already wet with blood. Si no te apuras los van a pillar. If you don’t hurry up they will catch them. ¡Vamos! ¡Vamos! ¡Burrito apura! Come on! Come on! Hurry up little donkey!

Niño bonito, no llorís mi amor. Beautiful child, don’t cry my darling. Ya llegaremos a tierra mejor. Soon we will arrive at a better land. Duérmete ya, no llorís. Go to sleep now, don’t cry. Cuna en mis brazos te hare, I will cradle you in my arms, Bombos legüeros en mi corazón. bass drums beating in my heart. ¡Vamos! ¡Vamos! ¡Burrito apura! Come on! Come on! Hurry up little donkey!

INTERMISSION Join us in the Gymnasium for Delicious Harbord Bakery Snacks $1/$2 Freshly Brewed Coffee or Cider $2 Enjoy great conversation with friends old and new

A un niño llorando

A un niño llorando al yelo To a child crying in the cold, van tres Reyes a adorar, three kings come to worship, porqu’el Niño puede dar for the child can bestow reynos, vida, gloria y çielo. kingdoms, life, glory and heaven itself.

Nasçe con tanta baxeza, He is born in great humility, aunqu’es poderoso rey, even though he is a powerful king, porque nos da ya por ley for now he gives us the rule abatimiento y pobreza. of lowliness and poverty. Por esto llorando al yelo For this one crying in the cold, van tres Reyes a adorar, three kings come to worship, porqu’el Niño puede dar for the child can bestow reynos, vida, gloria y çielo. kingdoms, life, glory and heaven itself.

Alma, venid también vos Soul, come also and worship a adorar tan alto nombre; this exalted name; veréis qu’este Niño es hombre you will see that this Child is man i mayorazgo de Dios. and firstborn of God. I aunque pobre y pequeñuelo And though a humble mite, he is le van Reyes a adorar, adored by kings, porqu’el Niño puede dar for the child can bestow kingdoms, life, glory and reynos, vida, gloria y çielo. heaven itself. Virgen sancta

Virgen sancta, el Rey del cielo, Holy Virgin, the King of heaven, your son, vuestro hijo, y nuestro bien, the source of our good, ¿cómo está’n un pesebruelo how can it be that he lies in a manger de la pequeña Belén? in tiny Bethlehem?

El Hijo de Dios eterno The son of God eternal, que govierna lo criado, who rules all creation, está’n medio del invierno lies in a manger a un pesebre reclinado. in mid-winter. Gran Señora, vuestro amado, Great Lady, your beloved, luz del cielo y nuestro bien, light of heaven and our good, ¿cómo está’n un pesebruelo how can it be that he lies in a manger de la pequeña Belén? in tiny Bethlehem?

La divina hermosura The divine beauty, a quien cielo y tierra adora, which heaven and earth adore, en un pesebruelo mora lives in a manger como pobre crïatura. like any poor creature. ¡En tan baxa conpostura In such a lowly state tanta alteza y nuestro bien! is such majesty and our good! ¿Cómo está’n un pesebruelo How can it be that he lies in a manger de la pequeña Belén? in tiny Bethlehem?

Hombres Victoria

¡Hombres, victoria, victoria! Victory, people, victory! que contra todo l’infierno for against all of hell el llorar d’un niño tierno the cry of a tender babe asegura nuestra gloria. assures our glory.

El sobresalto y guerra nasciò Our fear and our fight started de nuestra cayda, with our fall, y agora Dios nos combida and now God invites us con gloria y paz en la tierra. with glory and peace on earth.

Vida y alegre victoria Life, and joyful victory nos da apesar del infierno; is ours in spite of hell; el llorar d’un niño tierno the cry of a tender babe asegura nuestra gloria. assures our glory.

Canten dos jilguerillos

Canten dos jilguerillos Let two little goldfinches al sol infante sing to the infant sun; porque los pajaritos so that the little birds al niño acallen, may lull the child to sleep, canten suaves, let them sing softly, que esta noche de cielo for their voices come down sus voces salen. from heaven tonight.

A esta noche le llaman This night [Christmas Eve] la Noche Buena: is called the Holy Night: para todos de gozo, for everyone it is a night of joy, de gusto, de gloria, of pleasure and of glory, y adiós de pena. and a farewell to pain.

Ay, galeguiños, ay

Ay, galeguiños, ay, Hey there, Gallicians, que lo veyo mas, look what I’ve seen, que lo miro, ay, what I have beheld, que lo veyo en un pesebriño. what I’ve seen in a little manger. Ay, filo de Deus Ah, the son of God que a la terra vino. who has come to earth.

Ay, soen gantiñas Hey, play some little gaitas e dai mil boltiñas, and then a thousand voltas, ay, tocai las flautiñas, hey, play the little flutes tambem los pandeiros, and also the drums, ay, que face pucheros oh, he’s pouting por mis amoriños. for my little friends.

Ay, fagamosle festas Hey, let’s give a party que entre duas bestas, to him who lies among the beasts. ay, que muito le cuestas Ah, how much it cost him naçer sendo nobre who is noble to be born ay, no terra tan pobre Ah, on our poor earth por os pecadiños. for us sinners.

Los que fueren de buen gusto

Los que fueren de buen gusto, All those who have good taste, óiganme una xacarilla nueva listen to the nice new xácara que he de cantar en Belén. I’m going to sing in Bethlehem. ¡Siempre el garbo y la voz! A jaunty style and voice are always needed, Y o la cantaré también so I’ll sing it too. ¿Cómo qué, cómo qué? What’s all this, what’s all this? A que só me toca a mí, I’m the one to do it, y el porque yo me lo sé. because I know how to. ¿Cómo qué, cómo qué? What’s all this, what’s all this? Pues quitémonos de ruidos Come on, let’s stop shouting y cantemos a las tres. and let’s sing all three of us together. Tres a tres y una a una, Three by three and one by one, ¡vaya, vaya de xácara, pues. on to the xácara, then!

En el mesón de la luna In the Moon Inn junto a la Puerto del Sol next to the Gate of the Sun, del cielo de una doncella a young girl brought down from heaven en tierra un lucero dió. a star to us on earth. A ser galán de las almas So as to become the suitor of souls el Verbo al hielo nació, the Word of God was born to the freezing world, que lo tomó con fineza which took him with grace pero con poco calor. but with little warmth. Sin duda el Jayán divino Doubtless the divine Giant que naçe a morir de amor, willed his birth that he might die of love, pues cuando se emboza el rostro for when he hides his face me descubre el coraçón. he opens his heart to me. Por ser de la Trinidad Being one of the Trinity vino por la redempçión. he came down for our redemption. Metióse en Santa Maria, He entered unto Holy Mary ya dado en San Salvador. and so became our Holy Saviour. Tres a tres y una a una, Three by three and one by one, ¡vaya, vaya de xácara, pues! on to the xácara, then!

Metióse en cuna de nieve, He settled into a snowy cradle, que no es nuevo en su afiçión for there is nothing new, given his love, dexarse llevar del agua in the spirit of God el espíritu de Dios. being borne along by water. Al soberano Cupido The sovereign Cupid was wounded desde que naçe le hirió by the arrow from the moment of birth, la flecha, que en el desnudo for a dart wounds flesh hiere más presto el harpón. more readily when naked. A matar vi-vino a la muerte, He came to slay death, picado de que el amor spurred on by love’s le dió una herida mortal, having dealt him a mortal blow, y fue porque le encarnó. and it was because he embodied it. Que no se caiga el portal That the crèche did not fall down es un milagro de Dios. is one of God’s miracles. Bien puede el Jayán haçer Well may the Giant relate cuenta que ha naçido hoy. that today he has been born. Tres a tres y una a una, Three by three and one by one, ¡vaya, vaya de xácara, pues! on to the xácara, then!

Ay andar, andar

Ay andar, andar, andar Hey, come on, come on, let’s go a tocar, a cantar, a baylar, to play, to sing, to dance; a cantar todo gargüero, to sing full-throated, que si no quiere cantar and anyone who doesn’t want to sing, por la ley de los folijones by the rules of the dance, la garganta perderá. will lose his voice.

Ay andar, andar, andar, Hey, come on, come on, let’s go a tocar todo pandero to play all the tambourines; nadie se podrá escusar no one may be excused, que donde hay mucho concurso, for wherever there’s a crowd muchos panderos abrá. there will be plenty of fools.

Ay andar, andar, andar, Hey, come on, come on, let’s go a baylar todo juanete to dance with all our bunions que no podrá disculpar, for no one is excused; condenase a sabañones we condemn to sore feet (chilblains) por huir la agilidad. those who try to skip the dance.

Ay andar, andar, andar, Hey, come on, come on, let’s go. que toca y retoca y repica Pascual Let Pascual play it, and replay it and ring it again, que hoy a nacido una rara veldad, for today is born a rare beauty. que todos y todas y muchos y más, Let all men, all women, and still more astillas se hagan a puro baylar! dance themselves to pieces! Repite Pascual, —Cual? Repeat Pascual, —What? Cual será en creciendo aquesta Deydad, What will this deity be like when he’s grown up, si resién nacida no tiene otra ygual. if even as a newborn he exceeds all.

Que toca y retoca y repica Pascual, Let Pascual play it, and replay it and ring it again, pues hoy ha nacido quien vida nos da. for today is born the one who gives us life.

Repica bien las sonajas, Shake those rattles well, por q’oy hasiendome rajas, because today, tearing myself to shreds, e de baylar con bentajas, I’ll dance faster al ayroso vendabal! than the gales at sea! Que toca… Let Pascual play it…

Folijón en español A big old folía – Spanish style – quiere la Madre del sol that’s what the Mother of the sun wants; no tiene en su fasistol doesn’t have anything as good otro mejor Portugal. in its choirstalls. Que toca... Let Pascual play it…

Un monasillo atrebido A bratty altar boy, encaramando el chillido, raising a shriek, dió un grito tan desmedido, made such an incredible noise que le quitó a un sordo el mal. that he cured a deaf man. Que toca... Let Pascual play it…

Otro dando zapatetas Another, trying some fancy footwork, no le balieron las tretas, wasn’t quite up to the trick qu’en lugar de sapatetas for instead of fancy footwork dió el colodrillo al umbral. he knocked his head on the doorframe. Que toca... Let Pascual play it…

El sacristán furibundo The frenzied sacristan dixo a la Niña profundo said to the young girl in a low voice, nasca y ande todo el mundo, “Grow up, and the whole world will come to look; seras Muger singular. you will be an exceptional woman.” Que toca... Let Pascual play it…

Toda sudando manteca Sweating like butter llegó Gila vana y gueca along came vain and empty-headed Gila, y aunque en forma de xaqueca and even though she had a migraine, bayló una hora cabal. she danced for a whole hour. Que toca... Let Pascual play it… BIOGRAPHIES

David Fallis

David Fallis has been a member of the Toronto Consort since 1979 and its Artistic Director since 1990. He has led the ensemble in many critically-acclaimed programs, including The Praetorius Christmas Vespers, The Play of Daniel, all three of Monteverdi’s operas in concert, Cavalli’s La Calisto and Carissimi’s Jephte, among many others. He has directed the group in its many recordings and tours, and has conceived and scripted many of their most popular programs, such as The Marco Polo Project, The Queen, and The Real Man of La Mancha. He is also one of Canada’s leading interpreters of operatic and choral-orchestral repertoire, especially from the Baroque and Classical periods. He is Music Director for Opera Atelier and has conducted major operatic works by Mozart, Monteverdi, Purcell, Lully and Handel in Toronto and on tour to France, the US, Japan, Korea and Singapore. He has conducted for the Luminato Festival, Houston Grand Opera, Wolf Trap Theatre, Utah Opera, Orchestra London, Symphony Nova Scotia, the Windsor Symphony, Festival Vancouver, the Singapore Festival, the Elora Festival, and the Elmer Iseler Singers. He is also the director of Choir 21, a vocal ensemble specializing in contemporary choral music, and has led them in performances for Soundstreams, Continuum, The Art of Time Ensemble and the TIFF series at the Bell Lightbox. He was the Historical Music Producer for two Showtime historical dramas: The Tudors and The Borgias.

Rodrigo Chavez

Rodrigo Chavez studied classical guitar at the Conservatory of Music in Buenos Aires, Argentina, and has traveled through Argentina, Cuba, Venezuela, Brazil, and Peru, seeking out masters of Native and Afro-Latin percussion to connect these traditions with his own creative vision. He is the Artistic Director of Cassava Latin Rhythms band, has produced two CDs (Encuentros and Color of Rumba), and composes contemporary Latino-Canadian music, which explores the rich variety of Latin rhythms. Rodrigo teaches drums and conducts percussion workshops of Afro-Latin music, Native expressions of South America, and Latin- American Music, presenting an ecological approach to sound and environment as part of an integrated, educational art program called Global Rhythms in different Boards of Education, schools, and universities throughout Ontario. He has also taken part in a variety of other multi-disciplinary projects with such companies as The Toronto Choral Society, Angikam Dance Initiative, Esmeralda Enriquez Flamenco Dance Company, and recording percussion for Kiran Ahluwalia, and with Mediterraneo Greek Music Ensemble

Michele DeBoer

Born and raised in Toronto, Michele DeBoer enjoyed a rich musical education growing up, particularly through the Claude Watson School for the Arts and the Toronto Children’s Chorus. After completion of a BMus in education at the University of Western Ontario and an Associateship in Singing Performing (ARCM) from the Royal College of Music in London, England, a career balancing performing and teaching evolved. Being drawn to early music from a young age, as a teenager Michele founded and directed a national-award-winning madrigal choir, then sang in the Early Music studio at Western and took courses in early music at the Royal College. Joining the Toronto Consort has been a dream come true! Michele is also a long-time member of Tafelmusik and has sung with many leading early-music groups as well as professional choirs in Toronto and Montreal, including Les Voix Baroques, Toronto Masque Theatre, La Chappelle de Québec, Elora Festival Singers, Elmer Iseler Singers and Choir 21. Michele was particularly thrilled last season to be featured in Soundstreams’ celebration of the 80th birthday of renowned composer Steve Reich at Massey Hall. Concerts further afield have taken Michele to Thunder Bay with Consortium Aurora Borealis, to Eugene for the Oregon Bach Festival, and to the Royal Opera House in Versailles to sing the role of L’Amour in Lully’s Persée with Opera Atelier. Michele is also passionate about teaching private voice lessons at her home studio, as well as at Appleby College and Cawthra Park Secondary School, and conducting two choirs at Our Lady of Sorrows Church. When not busy with music-making, she is happiest in her gardens, or spending time with her husband and two daughters.

Ben Grossman

Ben Grossman is a busy musician: improviser, studio musician, composer, noise- maker and audio artist. He works in many fields, having played on over 100 CDs, soundtracks for film and television, sound design for theatre, installations, work designed for radio transmission, and live performances spanning early medieval music to experimental sound art. Ben’s tools of choice are electronics, percussion, and, especially, the hurdy gurdy (vielle à roue), a contemporary electro-acoustic string instrument with roots in the European middle ages. He studied the instrument in Europe (with Valentin Clastrier, Matthias Loibner and Maxou Heintzen) and has also studied Turkish music in Istanbul. www.macrophone.org

Lucas Harris

Lucas Harris studied the lute and early music at the Civica scuola di musica di Milano (as a Marco Fodella Foundation scholar) and then at the Hochschule für Künste Bremen. Based in Toronto since 2004, Lucas is the regular lutenist with the Tafelmusik continuo section and enjoys a busy freelance career with dozens of other ensembles. He is on faculty at the Tafelmusik Baroque Summer Institute, Oberlin Conservatory’s Baroque Performance Institute, and the Vancouver Early Music Festival’s Baroque Vocal Programme. Lucas is also a founding member of the Toronto Continuo Collective, the Vesuvius Ensemble, and the Lute Legends Ensemble. In 2011 Lucas began graduate studies in choral conducting at the University of Toronto with the help of a prestigious SSHRC research award. He was named the new Artistic Director of the Toronto Chamber Choir just after graduating in 2014. Lucas has been a guest music director for the Pacific Baroque Orchestra, the Ohio State University Opera Program, Les voix baroques, and the Toronto Consort.

Katherine Hill

Singer Katherine Hill first developed a love for old European text and music here in her native Toronto. With support from the Canada Council for the Arts she moved to the Netherlands in 2000, studying, appearing in concerts, radio broadcasts and at festivals throughout Europe over many years. Her particular interest in music from medieval women’s communities has led to her developing and directing her own projects in Amsterdam, Toronto and Calgary, and she currently directs a women’s group, Vinea (The Vineyard). In 2010, she completed an MA in Medieval Studies at the University of Toronto’s world- renowned Centre for Medieval Studies, and in 2012, with the support of the Canada Council for the Arts, Katherine received a diploma from the Eric Sahlström Institute in Sweden, where she studied the nyckelharpa (a Swedish keyed fiddle with origins in the middle ages). Katherine is the Director of Music at St Bartholomew’s Anglican Church, an Anglo-Catholic parish in Regent Park, Toronto. She performs and records frequently with early, traditional and new music groups here in Toronto and abroad. Paul Jenkins

Paul Jenkins cultivates an eclectic musical career as a keyboardist and tenor. A member of the Toronto Consort since 1990, he also performs regularly with the Aradia Ensemble, and has appeared with some of Canada’s leading baroque and early music groups, including Tafelmusik, Opera Atelier, Ensemble Anonymus and La Nef. Guest appearances include Apollo’s Fire, the Windsor, Kitchener- Waterloo and Toronto Symphony Orchestras, Orchestra London, Opera in Concert, the Toronto Chamber Choir, Esprit Orchestra, I FURIOSI, Toronto Masque Theatre, and many music festivals. This season he performs with Nota Bene Baroque Players in Kitchener for the first time.

Terry McKenna

Terry McKenna enjoys performing a wide range of musical styles on period and modern lutes and guitars. He’s been with the Toronto Consort for more than 20 years now (!) and also plays with Ensemble Polaris and the Toronto Masque Theatre as well as guest appearances with I Furiosi, Musica Franca and Opera Atelier, among others. In addition to historical-based repertoire, Terry welcomes opportunities to perform contemporary scores by composers such as James Rolfe, Omar Daniel, Peter Hannan, John Beckwith and Harry Freedman. Terry has participated on many recordings and broadcasts and finally did his own feature project, Throw the House Out of the Windowe (and Other Damn Fine Dance Tunes) on the Marquis Classics label. Another one is in the works – stay tuned! Terry gets great satisfaction from teaching guitar and lute at Wilfrid Laurier University. He also enjoys composing and performing music for his wife Susan Kennedy’s youth theatre project Playmakers! Terry lives in Stratford, Ontario (where he performs with the Stratford Festival) with Susan and their four children, two dogs, three cats, 1 frog, 1 turtle, 2 cute new anoles and 3 goldfish…

Alison Melville

Toronto-born Alison Melville began her musical life by playing the recorder in a school classroom in London (UK). Her subsequent career on historical flutes of many kinds has taken her across North America and to New Zealand, Iceland, Japan and Europe, most recently to Switzerland and Finland. She is a member of Ensemble Polaris and Artistic Director of the Bird Project, appears regularly with Tafelmusik, and collaborates in many other varied artistic endeavours. Some personal career highlights include playing for The Tudors, CBC-TV’s The Friendly Giant, and Atom Egoyan’s The Sweet Hereafter; solo shows in inner-city London (UK) schools; an improvised duet with an acrobat in northern Finland this summer; and, oh yes, a summer of concerts in Ontario prisons. Alison has been heard on CBC/R-C, BBC, RNZ, NPR, Iceland’s RUV, and on over 60 CDs. She taught for many years at the Oberlin Conservatory of Music, is currently on faculty at the University of Toronto and Wilfrid Laurier University, and also teaches music-appreciation classes for the Royal Conservatory of Music and Ryerson University’s Life Institute. Tales of musical adventure can be read at calliopessister.com. For more information please see www.alisonmelville.com.

John Pepper

A native of Annapolis, Maryland, bass John Pepper sang for many years with Festival Singers of Canada, Tapestry Singers, The Gents, the Tafelmusik Chamber Choir, Elora Festival Singers and the Toronto Chamber Choir, and now works regularly with Opera Atelier and Choir 21. He has recorded extensively with most of those organizations and with Canadian Brass, and has taken part in recordings and premiéres of music by John Beckwith, R. Murray Schafer, Harry Somers and Arvo Pärt. His work in music theatre includes Huron Country Playhouse, Comus Music Theatre and Rainbow Stage Theatre. He has written program notes for The Toronto Mendelssohn Choir, the Elora Festival and Roy Thomson Hall, and liner notes for CBC Records and CentreDiscs, among others. John has been a member of the Toronto Consort since 1990. His principal hobby is genealogy and family history.

Julia Seager-Scott

Julia Seager-Scott is a graduate of the University of Toronto, where she obtained a Bachelor of Music in Performance and a Master of Music studying with Judy Loman. Currently, Julia is principal harpist of the Stratford Festival Orchestra and teaches at a private studio in Toronto. She is also a freelance harpist doing solo, orchestral, choral, chamber, radio and television work. In addition to performing on her modern harp with orchestras such as The National Ballet of Canada Orchestra and the Kitchener-Waterloo Symphony, Julia is one of the only Canadian performers of the Italian Baroque triple harp and the Gaelic wire-strung clarsach. Highlights of Julia’s baroque engagements in 2018 include performing Handel’s Harp Concerto with Tafelmusik in February 2018 as part of Alexander’s Feast, performing in Opera Atelier’s production of Monteverdi’s The Return of Ulysses in April and performing in Toronto Consort’s production of Monteverdi’s Orfeo in May.

Vicki St. Pierre

Ms. St. Pierre’s engagements include a debut appearance with the Academy of Ancient Music at the Barbican Centre (London, UK), engagements with Tafelmusik, the Toronto Consort, performances with Les Idées Heureuses of Montreal, l’Ensemble Masques de Montreal, the Elmer Iseler Singers, the Talisker Players, Bach’s Christmas Oratorio with the Toronto Bach Consort, and Dido and Aeneas at Carnegie Hall with Les Violons du Roy. Ms. St. Pierre has recorded numerous works, including works by Harry Somers with Soundstreams Canada, Beethoven’s Scottish Songs and Andrew Ager’s Ellis Portal with the Talisker Players, Bach’s Christmas Oratorio (national CBC Broadcast) with Tafelmusik, as well as Navidad, a recording with the Toronto Consort. Ms. St. Pierre holds a Doctorate in Vocal Performance from the University of Toronto, and currently is an Assistant Professor at Mount Allison University, Faculty of Music, in New Brunswick.

Dominic Teresi

A native of California, Dominic Teresi is principal bassoon of Tafelmusik, teaches at The Juilliard School and the University of Toronto, and plays regularly with Boston Early Music Festival and Carmel Bach Festival. He is a member of the seventeenth-century chamber group QUICKSILVER and the faculty chamber ensemble Juilliard Baroque. In demand on dulcian, baroque, classical and modern bassoon, he has also enjoyed playing with Le Concert d’Astrée, Orchestre Révolutionnaire et Romantique, The Smithsonian Players, American Bach Soloists, Philharmonia Baroque, The Helicon Foundation, Ensemble Arion, Ensemble Caprice, Toronto Consort, and Apollo’s Fire. His playing has been praised as “stellar” (New York Times), “breath-stopping … managing to plumb every technical trick while also shaping the music with great skill” (Toronto Star), and “reminding us of the expressive powers of the bassoon” (The Globe and Mail). Illuminations Thank You

The Toronto Consort gratefully acknowledges the generous ongoing support of Trinity-St. Paul’s Centre, our sponsor and foundation partners, our long-time government funders and our many wonderful dedicated volunteers.

Corporate & Community Supporters

Foundation Supporters

The Keith Foundation at the Strategic Giving Charitable Foundation, Audrey S. Hellyer Charitable Foundation, The Mary Margaret Webb Foundation. and The Pluralism Fund.

Special Thanks

Many thanks to Susana Condori, Greig Dunn, and Anne-Louise Lanteigne. Many thanks to our team of over 100 volunteers who provide ushering, event hosting and administrative support. 2017-18 Toronto Consort Donors

GOLD RENAISSANCE RENAISSANCE CIRCLE Michael Lerner Stephen Cockle CIRCLE — Dr. Teresa Liem Thomas & Elizabeth Cohen — ($500 – $999) Margaret Magee Kim Condon ($5,000 and above) Mary Ella Magill & Jonathan Barrentine Margaret Ackerman Christina Mahler Nancy Conn Ann H. Atkinson Donald E. Altman & Jeanne Lamon Douglas Crowe Tom Bogart & Kathy Tamaki Monica Armour Pat & Howard Malone David & Liz Currie Greig Dunn Marion Breukelman Miret Alina Matus S. Davidson & Robert Maclennan Stephen & Linda Cook Trini Mitra Stephanie de Bruijn Jane & Al Forest Jayne & Ted Dawson Alec & Joyce Monro Colin Dobell Estate of Patricia Hosack Michael Disney Margaret & Reid Morden Richard Earls John & Maire Percy Jean Edwards Sara Morgan Lee Emerson Vivian E. Pilar Dinah Hoyle & Earl Rosen & Daniel Philpott Joyce Ford Joan E. Robinson Eva & Doug Green Elizabeth Mowat Frank & Donna Lynne Fraser George Hathaway Stephen J. Munro David & Helena Garlin ($2,500 – $4,999) Jill Humphries Toby & Martine O’Brien Ulla Habekost D. Kee Selma Odom Beatrice & Larry Herman Estate of Gerhard & Louise Klaassen Christopher Palin Avril N. Hill Norman John Cornack Grace & Henry Klaassen Ruth Pincoe & David Peebles Deborah Holdsworth Tiit Kodar, Robert & Michelle Knight Carol Percy Gail Houston in memory of Jean Kodar Eric A. Lipka Georgia Quartaro Susanna Jacob Lynda Newmarch Brenda Rolfe J. & J. Jimenez ($1,000 – $2,499) Prof. E.M. Orsten Dorothy & Robert Ross Elisabeth Jocz Paul & Elaine Pudwell Erik Schryer Ann Karner C. Bergeron Barbara Tangney Judy Skinner David Keenleyside Michael Clase Heather Walsh Donald Smith John Klassen Jane Couchman & Bill Found Lee Smith & Lyle Burton Natalie Kuzmich David Fallis B. Stalbecker-Pountney Anne-Louise Lanteigne Kevin Finora BENEFACTOR Paul & Lynne Stott Kathy & Ken Lawday Chester & Camilla Gryski — Karen Teasdale Duncan & Hilary MacKenzie A. L. Guthrie ($200 – $499) Martha Ter Kuile Kenneth & Mary Lund Glen Hutzul Mary Thomas Nagel Edward & Margaret Lyons John Ison Lewis W. Abbott Edward J. Thompson B. Lesley Mann William & Hiroko Keith James & Penny Arthur Tiffany Grace Tobias Gloria Marsh Oleg Kuzin, Nellie Austin Roger Townshend Gary McIntosh in memory of Betty Kuzin Edward & Jocelyn Badovinac Patricia & Alasdair Urquhart in honour of Ross Tilley Marion Lane & Bill Irvine David & Anne Bailey Gisela Van Steen Barbara McNutt Dr. Margaret Ann Mackay Sara Blake & the late Mark Van Steen Sean Miller Bonnie & Timothy McGee Helen G. & Harry Bowler Catherine & Gary Vivian Jeanne Moffat Ann F. Posen Marcus Butler Janet Walker Darryl Nakamoto Ted & Sheila Sharp Frances Campbell Sharon Walker Lorna Novosel Heather Turnbull Annette DeBoer Laurie White Jean Podolsky & Priyanka Sheth Harry Deeg Morden Yolles Anne-Marie Prendiville Guy Upjohn Neil Dobbs & Susan Girard & John Gillies Jane Witherspoon Katalin Gallyas David Ptolemy & Brian Stewart Joan Mary & David Gilbert PATRON Tim Reid Berta Zaccardi Carol & Peter Gould — Jason Roberts & Craig Robertson David Grant & Arlene Gehring ($100 – $199) Elaine Rolfe John & Jane Grant Joan Rosenfield Beatrice & Lawrence Herman Robert D. Bedolf Joanne & Walter Ross Pauline S. Hill Stephen Bishop Janet Rubinoff Jerry Hogan Chris Brownhill David Saunders Anya Humphrey Sheila Campbell Cathy Schell Ludwig W. Kalchhauser Philippa Campsie Erik Schryer William Karner & Norman Ball C. Schuh & M. Horn George & Kathryn Kawasaki Connie Catalfamo Douglas R. Scott Lisa Marie Krause Priscilla Chong Jill Shefrin Lois Kunkel & John Olthuis Rose Marie Cira Elizabeth Stewart Richard Sumner FRIEND Margaret Furneaux Bill Schultz Brian Taylor — Constance Gardner Gary Smith Ella Taylor-Walsh ($50 – $99) Isabelle Gibb Roberta Smith Ross Tilley Christopher Harris Janet Stern William Toye Dianna Allen & Mary Shenstone Jackie Taschereau Carol Vine Sandra Alston Gail Houston Barry Tinnish Mary Vise Cheri & Gregory Barnett Andrea Kinch Kaspers Tuters Imogene Walker Larry Beckwith Tiiu Klein Anthony & Lorna Van Bergen Jeffrey White Ann Carson Ronald Leprohon Carol B. Watson Andrea Whitehead Coleen Clark Ellen Mole Nora Wilson Marilyn Whiteley Amy Colson Dana Oakes Perry Wong Angie Wong Ruth Comfort Sheila O’Connor Beverley Wybrow Meg & Jim Young Sue Cousland G.D. Olds Sharon Zimmerman John Crozier Katherine V. Paterson Listing includes donations Hans De Groot Manfred & Sylvia Petz received up to November 30, Donald Elrick Marion Pope 2017. Please let us know if we Brenda Ellenwood Anne Power have missed you or made an Angela Emmett Cathy Richardson error.

THE ITALIAN QUEEN OF FRANCE CD RECORDING PROJECT

The Toronto Consort is grateful to the following donors who supported The Italian Queen of France CD Recording Project. Without your generous support, we would not have been able to produce this album.

RENAISSANCE BENEFACTOR Chester & Camilla Gryski PATRON CIRCLE — A.L. Guthrie — — ($125 – $499) Pauline S. Hill ($10 – $124) $500 and above Anya Humphrey Matthew Airhart John Ison Alison Booz Tom Bogart Nellie Austin Ray Kinoshita Ruth Comfort & Kathy Tamaki Edward Michael Lerner Isabelle K. Gibb Elan Dresher & Jocelyn Badovinac Susan Middleton Jacqueline Jimenez In memory of Anne & Dave Bailey & Christopher Palin Verica Ketko Jean Elizabeth Doug Bodley Alec & Joyce Monro Frances Maccusworth Kõdar Harry & Helen Bowler Elizabeth Mowat Margaret Magee Oleg Kuzin Marcus Butler Vivian Pilar Mary Ella Magill John & Maire Percy Michael & Catherine Clase Ruth Pincoe Catherine Pepper Jean Patterson Amy Coulson D. Powell Wells Norman Perrin Jane Couchman Margaret & Reid Morden Jean Podolsky & Bill Found Joan Robinson Trixie Postoff Tedd Dillon & Katie Engels Katalin Schafer Margaret Rogow Michael Disney Erik Schryer Alan Rosenthal Colin R.C. Dobell Judy Skinner David Saunders Richard Earls Gary Smith Imogene Walker Lee Emerson Janet Wood Sharon Walker Sherri Erlichman Berta Zaccardi Kevin Finora & Craig Robertson Listing includes donations Katalin Gallyas received up to November 30, 2017. Please let us know if we Joan Garner have missed you or made an David & Joan Gilbert error. Call 416-966-1045 From the man that gave us the mega-hit West Side Story, Voltaire’s epic masterwork becomes great music theatre.

by LEONARD BERNSTEIN Derek Bate, Conductor Guillermo Silva-Marin, Stage Director Tonatiuh Abrego, Vania Chan, Elizabeth Beeler, Nicholas Borg featuring Kimberly Rose Pefhany, Ivy Spalding, Cian Horrobin, Patrick Bowman, Austin Larusson, Edward Larocque

THE PERFECT HOLIDAY GIFT! We give you a special 30% DISCOUNT on Dec. 28 and Jan. 5 by using code CANDIDE30 Dec. 28, 30, Jan. 5, 6 at 8 pm Dec. 31, Jan. 7 at 3 pm 50% DISCOUNT FOR YOUTH ANY FRIDAY OR SATURDAY 30% DISCOUNT FOR GROUPS OF 20+

FOR St. LAWRENCE CENTRE THE ARTS 416-366-7723 | www.stlc.com

Guillermo Silva-Marin General Director

HANDEL MESSIAH DIRECTED BY IVARS TAURINS From reflective arias to the exhilaration and power of the choruses, Tafelmusik Choir and Orchestra invite you to experience the spirit and drama of this remarkable score. DEC 13–16, 2017 KOERNER HALL, TELUS CENTRE tafelmusik.org