Monteverdi Selva morale e spirituale Saturday 9 December 2017 7.30pm, Hall

Les Arts Florissants William Christie director/harpsichord Emmanuelle de Negri soprano Lucía Martín-Cartón soprano Carlo Vistoli countertenor Cyril Auvity tenor Reinoud Van Mechelen tenor Marc Mauillon baritone John Taylor Ward baritone Oscar Ortega Cyril Costanzo

There will be one interval of 20 minutes after ‘Confitebor terzo’

Part of Barbican Presents 2017–18

Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers.

Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited.

If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre 2 themes. themes. giving you someideaof itsscopeand translates as‘moral andspiritualforest’, collection to hearmusicfrom Monteverdi’s great and Monteverdi. Soit’saparticulartreat renowned inthemusicof Purcell, Mozart repertoire butthesedays they are as resurrecting neglected French Baroque They may have initiallymade theirname American-born butlongFrench-domiciled. their founder-director WilliamChristie, regulars LesArtsFlorissantsunder Tonight we welcome back Barbican Welcome

Evgeny Kissin,Maxim Vengerov andNicoMuhly. Iestyn Davies, Joyce DiDonato, SirHarrisonBirtwistle, Sir JamesMacMillan, George Benjamin,Andrew Norman, artists from around theworld. Recent artists include for exclusive interviews andcontent from thebestclassical Stream ordownload ourBarbican ClassicalMusicpodcasts Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available Barbican Classical MusicPodcasts Selva morale espirituale – which –which Huw Humphreys, Head of Music,Barbican hope you enjoy it. It promises to beanuplifting evening. I nature of life. to madrigals brooding ontheephemeral psalm settingsviaapensive Salve regina and interests. Theserange from joyous summation of Monteverdi’s various styles the endof hislife andoffer a thrilling brought together by thecomposernear The contents of the

Selva morale were were Selva morale e spirituale espirituale Selva morale Beatus primo a 6 voci Beatus primoa6voci Selva morale espirituale– Laudate Dominumomnesgentes, SV197 Psalmi eframmenti – È questa vita unlampo Salve regina a2voci (II) d’Arianna Pianto dellaMadonna sopra ilLamento Selva morale espirituale– interval Confitebor terzo Selva morale espirituale– Adoramus a6voci, SV289 Psalmi eframmenti – O ciechi,iltanto affaticar chegiova? Canzonetta: Chivol chem’innamori a7voci Selva morale espirituale– For texts, pleaseseepage6 Monteverdi Claudio 20minutes worlds were professionally andsociallyseparate, and psalmsfor theDoge’schapel.Whiletwo chaste environment, composingMasses,motets cappella spectacle andsex, whilehispositionas Poppea ritorno d’Ulisseinpatria life. Themadrigals andthecommercial start of two very different chapters inhismusical move to Venice the following year marked the the Gonzaga courtinMantua1612, andhis Monteverdi’s later years. Hewas dismissedfrom Such contraries were attheirmostlively in despair. chromatic tension andresolution, ecstasy and and inmadrigals caughtconstantly between choral music,thetragicomic worlds of his operas, genres. We hearitintheduellingchoirsof his forces, whetheremotions, styles,textures oreven creative tension thatexists between opposing composer’s longcareer –abeliefinthedynamic his madrigals. It’sanideathatunderpinsthe wrote Monteverdi inthePreface to Book8of ‘It iscontraries whichdeeplyaffect ourmind,’ the now 73-year-old composerwould create –a Vespers, the The largest sacred collectionsince the1610 shades –captures itsgenerous multiplicity. – amusicalforest withtrees of many typesand means ‘moral andspiritualforest’ andthisidea range andvariety. Literally translated, thetitle compositions into ananthologyof startling stylistic compilations, drawing several decades of madrigals isto hissecular:both are retrospective to Monteverdi’s sacred musicwhatBook 8of his Published in1641, the stage. the sacred music drawing from thedrama of the them: thenewly rhetorical energy thatanimates musically it’spossibleto seethedialoguebetween took himto theheartof asecularworld of (1567–1643) at St Mark’sfound himinacontrastingly (publ 1641) (publ Selva morale Selva morale espirituale and would also be the last would alsobethelast L’incoronazione di L’incoronazione di

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3 Programme note 4 tomorrow. more inclinedto rejoice today thanworry about abandon (‘hoggisiride’)reveals acomposer laughter thatbreaks frequently through withsuch anything but.Thebubbling,irrepressible musical settings. Butwhilethewords are bleak,themusicis the transience attheheartof allthe‘vanitas’ pronounces thetext, proclaiming themutability, light, andthentomorrow we shallbedarkness’ and thentomorrow we shallweep’, ‘Today we are is awork animated by contrasts. ‘Today we laugh, The strophic Canzonetta ‘Chivol chem’innamori’ by energetic solosandduets. human petitionersthatpraise him,often voiced ‘Tu solusaltissimus’)andthe fragility of the between thepower of God(‘Gloriainexcelsis’, dictated by thetext, it dramatises thecontrast word setting.Dividedinto five musicalsections, the Gloriaisadynamicandevocative pieceof celebrations. Whatever thetruthof itsorigins, probably composedfor ChristmasorEaster most prosaically) to have beenafestal work, and 1631, thework isnow considered (rather plague thathad devastated Italy between 1630 Mass celebrated to marktheofficial endof the length. Longthoughtto have formed partof a morale is oneof themostextended works inthe opener; thespacious seven-voice Gloriasetting grander ormore expansive than tonight’s to grand festive splendour. Itdoesn’tgetmuch intimacy of chambermusicandsinglevoices The range of the the early17th century. of Italian musicalfashion andtechnique through changing stylesandforces reflecting theevolution concert includesoneof three Salve reginas), their morale sequence of movements, many of the Vespers, whichoffers onlyasingleliturgical hymns, solosongsandaMass.Unlike the1610 spiritual madrigals, sections, itcomprisessome40works –motets, final epitaph to alifetime’s work. Dividedinto two ’s texts are setmultipletimes(tonight’s , and as ambitious in scope as it is in , andasambitiousinscopeitis Selva morale canzonette morali takes usfrom the Selva Selva , psalms, , psalms, Selva be performed eitherby asinglesoloistorwithfive ‘Confitebor tibi’isanadaptable affair, whichcan This third settingof thecelebratory Psalm111 wonder andsoberdelight. between thevoices –amusicalstatement of treatment, drawn outinrapturous exchanges sanguinem …’) receives themostextended line. Theliturgical heartof thetext (‘Quiaper the lower voices are often setagainst thetreble into delicate episodesof counterpoint, inwhich But asthemotet gainsmomentumthisrelaxes Initially allsixvoices singinhymn-like homophony. puts text rather thanmusicaltexture to thefore. Adoramus te isarapt, meditative affair which earlier collectionsof sacred works, thesix-voice the Laudate Dominumfor solobass)butfrom come not from the One of two works intonight’s programme to phrases often diverted ortruncated in mid-course. which certainty almostalways turnsto doubt,with mirrored expressively by Monteverdi’s music,in point inanemphaticseriesof rhetorical questions, here, possiblyby thecomposerhimself)makes its works of thecollection.Petrarch’s text (rearranged its mercurial moodsplace itamongthemodern style of themadrigal, itsepisodicstructure and wealthy andpowerful patrons. Thetext-driven a none-too-subtle sermon for thecomposer’s brood ontheephemeral value of earthlythings, all of whichare ‘vanitas’ settings–works that madrigals (‘Ociechi,iltanto affaticar chegiova’) things!’ Soendsthefirst of the ‘Wretched ishewhoplaces histrustinmortal more stately, expansive mood. the central bodyof themotet whichsettles into a eagerness to convey theirmessage, incontrast to outer sectionsalmosttripover themselves intheir urgency of thetext’s rejoicing inmusicwhose simple, thislargely syllabic settingcaptures the alternates soloandtuttipassages. Brightand forward styleof delivery orto astructure that the indicationcouldrefer eitherto a declamatory, manner), themusic’sFrench character isunclear: the score ismarked singers inthetraditional madrigal style. Although Selva morale alla Francese Selva morale (the other is (theother is (in the French (intheFrench ’s ’s swift, chattering energy before, more often than musical themesthatallwork themselves upinto voices play follow-the-leader inaseriesof tiny unusually fragmented work inwhichthefive this image thatshapesthemusicof thisshort, flash, ‘whichdisappearsasitappears’.It’s Angelo Grillo’stext compares life to alightning it withtheaddition of two violins andcontinuo. composers suchasCiprianodeRore andenrich five-voice madrigal Monteverdi inherited from of stylesanderas. Both works take thestandard ‘È questa vita unlampo’represents ablending Like ‘Ociechi’,thelively andgentlyhumorous Virgo Maria.’ final extended andecstatic invocation, ‘Odulcis certainty of salvation untilthevery endandthe and episodicstructure donot fullyrelax into the fragmented sighs,insistent repetitions (‘Ad te’) duet isamore brooding, anxiousaffair, whose its emphasisonmercy andredemption, this musical prayer. Where thethird settingplaces imitation andeven canonto create ashared second of theseusesitstwo solovoices inclose in the Marian texts, anditspopularityisreflected at theendof Compline,isoneof theloveliest The antiphonSalve regina, mostoften used musical directness. apart from therest of the harmonically again andagain, thehymn stands advantage of thefreedom of recitative to startle us lover Theseus.Brimmingwithemotion, taking Christ for theoriginalplaintsof Ariadne for her which substitutes themourningof theVirgin for text) thesacred hymn thatwe hearthisevening, voice madrigal, andthelast(withanadapted various adaptations. Thefirst of thesewas afive- this onepassage survives thanks to thecomposer’s L’Arianna recitative from Monteverdi’s Mantuaopera piece written many years earlier–anextended Madonna) isanastonishing reimagining of a the solomotet ‘IammoriarmiFili’(Pianto della the original‘onesongto the tuneof another’, One of thegreat repurposings of musicalhistory, Selva morale . Althoughtheopera itselfisnow lost, ’s multiple settings. The ’s multiplesettings.The Selva morale for itsraw ‘Beatus vir’. ‘Beatus vir’. all anchored by the insistent, repeated refrain ever-shifting landscape of vocal duetsandtrios, and thefaithful rejoice inmusicthatunfolds inan drama of itstext. Theungodlygnashtheirteeth the madrigalist into thechurch, soalive isitto the man thatfeareth theLord’) bringsMonteverdi first, six-voice settingof Psalm112 (‘Blessedisthe exhilaratingly, infectiously joyous motets. This We finish withoneof Monteverdi’s most close incelebration. started incontemplative, rhapsodicmood,butwe ‘Gloria’ over aground bass.We mighthave leads directly into acharacteristically lilting interrupted by thetriple-time‘Quoniam’which the pointof sense.Thisfree-flowing styleis statements, drawing itswords outalmostbeyond the text inincreasingly florid andmelismatic a stylethatfeels almostimprovisatory, repeating Accompanied justby continuo,thebassopensin operatic treatment of thewords. published in1651, andoffers anexpansive, almost we heartonight for solobasswas originally almost any other throughout hiscareer. Thesetting which Monteverdi returned more thanhedidto Despite, orperhapsbecauseof this,itisatext to sufficient weight andheftto itsslightstructure. to composers,whomust decide how to bring all 150 psalmsandposesauniquechallenge Psalm 117, ‘Laudate Dominum’,istheshortest of musical injunctionto seize theday, it’sthis. not, comingto anabruptstop. Ifever there was a Programme note ©Alexandra Coghlan over apropulsive ground bass. we’re plungedonce again into anendlessdance measured, before theinitialmusicreturns and pause, becomingsomethingmore stately, more section, where thebreathless dancebriefly takes is matched by theoriginal,triple-timecentral the secularduet parts take theirlively, swinging themefrom Constructed inthree sections,thework’s outer Chiome d’oro . This energy . Thisenergy

5 Programme note 6 Che presto iolascerò? O ricercar gl’honori Se nudoiomorirò? Dovrò prezzar thesori E poidimansiamombra. Hoggi siamluce, Terror, ch’ilsenm’ingombra. La morte, ohimè,produce Ah, vienqualneve meno. La neve d’un belseno, Quel orsispargerà? Se digelate brine Mi leghi,echesarà Se vol ch’unaureo crine E puoidimansipiange. Hoggi siride, Il tempo tutto frange. La morte, ohimè,m’uccide, Ah, chesiantosto spenti? Se debell’occhiardenti Un fior, echecosaè? Se d’animatifiori Mi dicaalmendiche? Chi vol chem’innamori Chi vol che m’innamori Amen. Patris. Jesu Christe, cumsancto SpirituingloriaDei tu solusDominus,altissimus, Quoniam tusolussanctus, Qui sedesad dexteram Patris, miserere nobis. suscipe deprecationem nostram. Qui tollis peccata mundi, Domine Deus,Agnus Dei,filius Patris. Domine fili unigenite JesuChriste, Deus pater omnipotens, Domine Deus,rex celestis, tuam. Gratias agimus tibipropter magnam gloriam adoramus te, glorificamus te. Laudamus te, benedicimuste, Et interra pax hominibusbonae voluntatis. Gloria inexcelsis Deo, Gloria espirituale Selva morale

Ah, thoseare quicklyextinguished! If withfair burningeyes, What thenisaflower? If itbewithlivingflowers, At leasttell mewithwhat! If Iamto fall inlove, Amen. in thegloryof GodtheFather. together withtheHolyGhost Thou only, OJesusChrist,artmosthigh, For thouonlyartholy. ThouonlyartLord. mercy uponus. Who sittest attherighthandof theFather, have receive ourprayer. Who takest away thesinsof theworld, O Lord God,Lambof God,Sonof theFather, O Lord JesusChrist,theonly-begotten Son! God theFather almighty. O Lord God,heavenly King, We give theethanks for thy great glory. we adore thee,we glorifythee. We praise thee,we blessthee, and onearthpeace to menof goodwill. Glory to Godinthehighest, That Ishallsoon have to forsake? Or seekhonours When Ishalldienaked? Should Ilove treasures, And thentomorrow we shall bedarkness. Today we are light. Terror thatfills my heart. Alas, Deathengenders Ah, soonwillmeltaway! The snow of alovely breast That goldwillsoonbespeckled? When withwintrywhite To goldentresses Am Ito bindmyself And thentomorrow we shallweep. Today we laugh, Time destroys allthings. Alas, Deathisslaying me;

voluntates eius. 2 Magna Dominiexquisita inomnes consilio justorum etcongregatione. 1 Confitebor tibiDomineintoto corde meoin Confitebor terzo Miserere nobis. Redimisti mundum. Tuum pretiosum Quia persanguinem Et benedicimustibi, Adoramus te, Christe, Adoramus te Francesco Petrarca (1304–74) Miser chispemeincosamortal pone! E lemitre conpurpurei colori? E legemme,egliscettri,corone, U’ sonhorlericchezze?glihonori? E ‘lvetro, e‘llegno,chelegemme,gliori. Vi piùdolcesitrova l’acqua, e‘lpane, E colsangueacquistar terra, etesoro, Dopo l’imprese perigliose,evane, Con glianimialsuodannosempre accesi? E tributarie far legentistrane Che val asoggiogartanti paesi, Chi ’ntende ivostri studi,sìme‘ldica. Che nonsiantutte vanità palesi; Pur dellemilleun’utilefatica; E ‘lnomevostro appenasiritrova. Tutti tornate allagran madre antica; O ciechi,iltanto affaticar chegiova? O ciechi, il tanto affaticar E poidimansimore. Hoggi sinasce, Di vanitade ilcore. Che male,ohimè,sipasce Se giongonl’hore estreme? In chefondar miaspeme Wretched ishewhoplaces histrustinmortal And thosemitres withtheirpurplehues? And thosediadems, sceptres andcrowns? honours? Where are thoserichesnow? Where are those glass andwood, thandiadems andgold. it issweeter to find bread andwater, bloodshed, and theacquisition of landsandtreasures by After perilousandvain undertakings you? when theirmindsare always bentonharming and receiving tributes from foreign peoples countries What isthepurposeof conqueringsomany me. If anyone understands your studies,lethimtell is itnot allplainlyinvain? useful, Even thoughthetoil of athousandmenseems and even your nameswillscarcely survive you! You willallreturn to ourgreat ancientMother, so? O ye blindones!Whatdoesitavail you to toil And thentomorrow we shalldie. Today we are born, Feeds onvanity. Alas, whatevil ifmy soul When my lasthourcomes? Wherein shouldIplace my trust them thathave pleasure therein. The works of theLord are great, sought outof congregation. in theassemblyof theupright,andin I willpraise theLord withmy wholeheart, Have mercy onus. you have redeemed theworld. because withyour precious blood and we blessyou, O Christ, We adore you, things!

7 Texts 8 Respice Jesuprecor, Respice Jesumi, Me deseris;heu,vulnuscordis mei. Mea spes,meavita sponse mi,dilecte mi Mi Jesu,oJesumisponse Iam moriarmiFili. In hoctam duro tormento? In hocfero dolore, Matrem consolari Quis nampoterit Iam moriarmiFili, d’Arianna Pianto dellaMadonnasopra ilLamento interval secula seculorum.Amen. Sicut erat inprincipioetnuncsemper Gloria Patri etFilioSpirituisancto. Psalm 111 (110) manet insaeculum saeculi. bonus omnibusfacientibus eumlaudatioejus 10 Initiumsapientiae timorDominiintellectus Sanctum etterribile nomenejus. mandavit inaeternum testamentum suum. 9 Redemptionem misit[Dominus]populosuo saeculum saeculi facta inveritate etaequitate. 8 Fideliaomniamandata ejusconfirmata in manuum ejusveritas etjudicium. 7 utdetillishereditatem gentium.Opera suo 6 Virtutem operumsuorumannuntiabitpopulo saeculum testamenti sui. 5 Escamdedittimentibussememoreritin et miserator Dominus. 4 Memoriamfecit mirabilium suorummisericors eius manetinsaeculum saeculi. 3 Confessio etmagnificentia opuseiusetjustitia 20 minutes be, world withoutend.Amen. As itwas inthebeginning,isnow, andever shall the HolyGhost. Glory beto theFather, andto theSon,andto commandments: Hispraise endureth for ever. a goodunderstanding have allthey thatdohis The fear of theLord isthebeginningof wisdom: reverend ishisname. commanded hiscovenant for ever: Holy and He sentredemption unto hispeople:hehath uprightness. for ever andever, andare doneintruthand all hiscommandmentsare sure. They stand fast judgment; heathen. Theworks of hishandsare verity and that hemay give themtheheritage of the works, He hathshewed hispeoplethepower of his will ever bemindfulof hiscovenant. He hathgiven meatunto themthatfear him:he compassion. remembered: theLord isgracious andfullof He hathmade hiswonderful works to be righteousness endureth for ever. His work ishonourable andglorious:his my Jesus, Think of me, you are leaving me–ah!my heartisbreaking. my hope, my life, my beloved spouse, My Jesus,Jesusmine, Now letmedie,my Son. in thisunbearable torment? in thisraging grief, can becomforted For whatmother Now letmedie,my Son. Misera, heu,iamquid quaero? Quid loquor?Heu,quidspero? Et cumdilecto meomequoqueabsconde. Aperite profundum O terrae centrum, Mersus inundisvelox, Esse sponsusmeus O mors,oculpa,inferne Heu, surdus esad fletus atquequerellas; Heu Fili,nonrespondes, Nam tecum moriestilligloriaetvita. Te misera Maria; Ecce plorando, ecceclamandorogat En mihidulcemori. Ah Jesu,ahJesumi Et clavis laniariatquecorona? Affigi duro ligno Et fine fine regnum, Haec nesuntaurea sceptra Quae tibicingantcrines, Sunt haec regalia serta Antiqui Patris David? Haec illaexcelsa sedes Archangeli Gabrielis, Haec suntpromissa Te nonvidebo,oPater, omisponse. Suscipient laeti; etego Te Pater almus,teque fons amoris Solitaria etmaesta. Preda doloris, Et egorelinquor Hoste victo superbo; Tu confringesinfernum Discedis, omiFili,etegohicploro. Sed promptus ex hac vita quae perte vixit. Tecum quae extinta sit, Miserere gementis Quo torquetur Maria. Cujus pectoris, heu,tanti doloris O potens homo,oDeus Mi Jesu,oJesumi Tecum petitaffigi. In hac tam dura ettam immanicruce Atque inmorte funesta Quae gemendopro te pallidalanguet Respice tuam, Respice matrem, to bepinnedto cruelwood, this thelimitof your kingdom, Is thisthegoldensceptre, that was to grace your head? Is thisthekinglycrown of David ourancestor? Is thisthelofty throne of theArchangel Gabriel? These, are thesethepromises beloved. and Ishallseeyou nomore, my Father, my and theHolySpiritwillreceive you, Your loving Father, alone, broken-hearted. prey to grief, – andIamleft, defeating theproud enemy you willbreak outof Hell you go,my Son,andImustweep here; But sosoonfrom thislife who haslived for you. and letherdiewithyou, take pityonhergroans tortures Maryequally– Alas! thepainof your heart O manof power, OGod My Jesus,Jesusmine, begs to benailedwithyou. on thishard andterrible Cross and inawful death who groans andfaints for you think of your mother, I begyou, in my wretchedness? Enoughof complaints. What amIsaying? WhatamIdesiring and burymetoo withmy Beloved! open deep, O earth, beneath thechurningwaves … my Son plunged O shamefuldeath!thehorror – You are deafto my tears andgroans! What, my Son,noreply? For to diewithyou isgloryandlife to her. as poorMarybegsthisof you! see my tears, hearmy cries death now issweet to me, Ah Jesus,ahmy Jesus, torn by nailsandcrowned withthorns?

9 Texts 10 secula seculorum.Amen. Sicut erat inprincipioetnuncsemper Gloria Patri etFilioSpirituiSancto Psalm 117 (116) manet ineternum. misericordia ejusetveritas Domini Quoniam confirmata estsupernos laudate eumomnespopuli. Laudate Dominumomnesgentes, Laudate Dominumomnesgentes Angelo Grillo(1557–1629) E dopoillampopurvienlasaetta. Ahi, lampofuggitivo! esìn’alletta, Non benancoapparito. Il presente, partito, È giàmorto; ilfuturo ancornonnato. Ché, semiri,ilpassato In questo mortal campo. Ch’all’apparir dispare È questa vita unlampo, È questa vita unlampo O clemens,opia,dulcisVirgo Maria. nobis posthocexilium ostende. et Jesum,benedictumfructumventris tui, illos tuosmisericordes oculosad nosconverte Eia ergo, advocata nostra, in hac lacrimarum valle. Ad te suspiramus, gementes etflentes Ad te clamamus,exsules filii Evae. Vita, dulcedoetspesnostra, salve. Salve, regina, Mater misericordiae Salve regina Pascere, Filimi,matrisamore. Vivat maestum cormeum,plenodolore Non sitquidvolo sedfiat quodtibiplacet. O Jesu,oJesumi, Praise theLord, allye nations; yet after theflash comesthethunderbolt. Ah, fleeting flash of lightning,you attract me, before having really appeared. and thepresent hasdisappeared it isalready dead; thefuture not yet born, For, ifIlookatthepast, in thismortal existence. which disappearsasitappears This life isaflash of lightning o merciful, oloving, osweet Virgin Mary. Jesus, theblessedfruitof thy womb, and after thisourexile show us those merciful eyes of thine, Our Advocate, turnthouonus inthisvale of tears. mourning andweeping, we cry, poorbanishedchildren of Eve, To theewe cry, OQueen; hail, ourlife, oursweetness, andourhope,allhail. Hail, Queen,Mother of mercy; and you, my Son,feed onamother’s love. Let my sad heartlive, infullnessof grief; let itnot beasIwish butletyour willbedone. O Jesus,my Jesus, be, world withoutend.Amen. As itwas inthebeginning,isnow, andever shall HolySpirit, Glory to theFather andto the Sonandto the endureth for ever. and thetruthof theLord For hismerciful kindness isgreat toward us: Praise Him,allye people.

secula seculorum.Amen. Sicut erat inprincipioetnuncsemper Gloria Patri etFilioSpirituisancto. Psalm 112 (111) peribit fremet ettabescet desideriumpeccatorum 10 Peccator videbitetirascetur dentibus suis gloria in saeculum saeculi cornueiusexaltabitur in 9 Dispersitdeditpauperibusjustitiaeiusmanet donec dispiciatinimicossuos 8 Confirmatum estcoreiusnoncommovebitur Domino mala nontimebitparatum coreiussperare in 7 Inmemoriaaeterna eritjustusabauditione 6 Quiainaeternum noncommovebitur disponet sermonessuosinjuditio 5 Jucundushomoquimiseretur etcommodat et miserator etjustus 4 Exortum estintenebris lumenrectis misericors manet insaeculum saeculi 3 Gloriaetdivitiae indomoeiusetjustitia rectorum benedicetur 2 Potens interra eritsemeneiusgeneratio volet nimis 1 BeatusvirquitimetDominuminmandatiseius Beatus primo of thewicked shallperish. gnash withhisteeth, andmeltaway: thedesire The wicked shallseeit,andbegrieved; heshall his hornshallbeexalted withhonour. righteousness endureth for ever; He hathdispersed,hegiven to thepoor;his until heseehisdesire uponhisenemies. His heartisestablished, heshallnot beafraid, tidings. Hisheartisfixed, trustingintheLord. remembrance. Heshallnot beafraid of evil the righteous shallbeineverlasting Surely heshallnot bemoved for ever: will guidehisaffairs withdiscretion. A goodmansheweth favour, andlendeth:he and righteous. darkness: heisgracious, andfullof compassion, Unto theuprightthere arisethlightinthe righteousness endureth for ever. Wealth andrichesshallbeinhis house:andhis generation of theuprightshallbeblessed. His seedshallbemightyuponearth:the delighteth greatly inhiscommandments. Blessed isthemanthatfeareth theLord, that with kindpermission English translations ©HarmoniaMundi;reproduced be, world withoutend.Amen. As itwas inthebeginning,isnow, andever shall HolySpirit, Glory to theFather andto the Sonandto the

11 Texts 12 Jean-Baptiste Millot Philharmonic. Philharmonic. appeared asaguestconductor withtheBerlin de Lyon. Between 2002and2007heregularly Metropolitan Opera, ZurichOpera and Opéra Glyndebourne andatopera housessuchasthe often appears atopera festivals including As aguestconductor, WilliamChristie Campra’s Caen in2014 before touring internationally; and ‘Rameau, maître àdanser’,whichpremiered in Jonathas Academy of Musicin2010; Charpentier’s Notable amonghisrecent operatic work are Scarlatti, Purcell, Handel,MozartandHaydn. works by composersincluding Monteverdi, Rossi, has alsoledmany acclaimed performances of which thenwent onto tour internationally. He of Lully’s recognition camein1987 withtheproduction concert hallandtheopera house.Majorpublic ensemble, hemade hismarkinboth the As director of thisvocal andinstrumental when hefounded LesArtsFlorissants. 1971. Theturningpointinhiscareer camein1979 Harvard andYale, hehaslived inFrance since wide audience.BorninBuffalo, andeducated at reintroduction of French Baroque musicto a teacher WilliamChristiehasspearheaded the Harpsichordist, conductor, musicologistand William Christie About the performers William Christie attheOpéra ComiqueandtheBrooklyn Atys at theAix-en-Provence Festival in2012; Les fêtes vénitiennes attheOpéra ComiqueinParis, director/harpsichord in2015.

David et Arts Florissants. Arts Florissants. School alongwiththemusiciansandsingersof Les every summeryoung musiciansfrom theJuilliard village of Thiré intheVendée, where hewelcomes festival inhisown gardens, located intheFrench launched theDanslesJardins deWilliamChristie for young singers,theJardin desVoix. In2012, he twice ayear. Healsocreated in2002anacademy School since2007, where hegives masterclasses Christie hasbeenartist-in-residence attheJuilliard Wishing to develop hiswork asateacher, William . Un jardin àl’italienne Marie-Antoinette 100 recordings. Hismostrecent, His extensive discography includesmore than Stabat mater withLeBanquet Céleste inRennes Maddalena aipiedidiCristo tour withCoOpérative, Maddalena (Caldara’s National deParis, Almirena ( ( Highlights thisseasonincludetherole of Nella French literature atMontpellierUniversity. and obtained apostgraduate degree in Conservatoire. Shealsotook drama courses Conservatoire andlater theParis studied cellobefore entering theNîmes Soprano EmmanuelledeNegriinitially Emmanuelle deNegri Emmanuelle deNegri Gianni Schicchi ) for her debutattheOpéra , Airs sérieuxet àboire have beenreleased on soprano ) andPergolesi’s Music for Music for ) onFrench and and

et Eurydice under WilliamChristie,andGluck’s Bien quel’Amour Raphaël Pichon;aDVD of Lully’s and under Michael Greenberg; Rameau’s Royer’s Emmanuelle deNegri’sdiscography includes in Washington andNew York, Turin andPau. and WilliamChristie.Shehasalsogiven recitals Dumestre, Raphaël Pichon,EmmanuelleHaïm including GabrielGarrido,Hervé Niquet,Vincent She hasworked withmany leading conductors, and Mélisande(Dukas’s Turn of theScrew a vital strand of herwork, includingMiles( Underworld included Cupid(Offenbach’s in demandoperetta –where herroles have initiative. Aswell asBaroque repertoire, sheis having beenpartof itsfourth LeJardin desVoix She works regularly withLesArtsFlorissants, with Accentus inParis andProvence. London; aswell asGluck’s ( and Opéra deLille;Love, ClarineandFolly Télaïre ( Théâtre ImpérialdeCompiègneandBesançon; Élysées andOpéra deNice;Susannaatthe ( opera househerroles includePapagena in Pasquini’s In oratorio shehassungunderRené Jacobs recital attheAix-en-Provence Festival. tour withtheCoOpérative; andaDuparc ( Mediterranea underLeonardo García Alarcón; Geneva, Lyon andPotsdam withCappella de Dijon; Falvetti’s Florissants; Monteverdi’s of Among herrecent projects isaEuropean tour with LePoème HarmoniqueinKraków. with LesArtsFlorissantsand‘Sonof England’ and Ancona,aswell asthecurrent European tour Platée The Magic Flute ) for theEarlyOpera Company in Pyrrhus Castor et Pollux The Marriage of Figaro with William Christie and Les Arts withWilliamChristieandLesArts underLaurence Equilbey. ). Twentieth-century opera alsoforms Martirio deSant’Agnese with Les Enfants d’Apollon withLesEnfants d’Apollon ) attheThéâtre desChamps- ), Yniold( with Les Arts Florissants with LesArtsFlorissants Il DiluvioUniversale with Pygmalion under with Pygmalionunder ) atOpéra deDijon Ariane et Barbe-Bleue Orfeo Pelléas et Mélisande Orfeo ed Euridice Orfeo edEuridice Orpheus in the Orpheus inthe atOpéra ) onFrench Atys Orphée Orphée . In the . Inthe and and in in The The ) ). ).

Alessandro Lourenço Lucía Mart´n-Cartón Sophie DanemanandDavide Montagna. including Gustavo Tambascio, Robert Carsen, and Alexis Kossenko, aswell asstage directors Encinar, ChristinaPluhar, Sébastiend’Hérin García Alarcón, Christophe Rousset, JoséRamón with conductors includingJordi Savall, Leonardo Australia, AsiaandAmerica.Shehasalsoworked been ontour several timesaround Europe andto Christie andPaul Agnew, withwhomshehas run by LesArtsFlorissants,conducted by William She was partof LeJardin desVoix 2015, aproject Renata Tebaldi International Voice Competition. First Prizeintheearlyrepertoire sectionof the ESMUC, Barcelona. In2015 shewas awarded a Masters inAncientMusicPerformance from her singingstudiesinValencia. Shealsoholds where shestudiedviolinandsinging,furthering Lucía Martín-Cartónwas borninValladolid, Lucía Martín-Cartón Lyriques and L’Arpeggiata. Lyriques andL’Arpeggiata. Le ConcertdesNations,LesTalens Florissants, CappellaMediterranea, She regularly collaborates withLesArts Beaune, Salzburg, Cremona andPurtimiro. those inInnsbruck,Ambronay, Utrecht, Leipzig, has alsoperformed atmajorfestivals such as Barcelona andThéâtre Grévin inParis. She Moscow, HongKong CityHall,L’Auditori de Concertgebouw, Tchaikovsky ConcertHallin de laZarzuelaMadrid, theAmsterdam Tokyo, LincolnCenter in New York, Teatro Recital Centre, KKLLuzern,Suntory Hallin Versailles, Sydney Opera House,Melbourne the PhilharmoniedeParis, thePalace of in Europe, theUS,AsiaandAustralia, notably She hasperformed innumerous concerthalls soprano

13 About the performers 14

and Warsaw withLesAmbassadeurs under the title-role inHandel’s Stabat mater Recent highlightshave includedLogroscino’s L’Olimpiade Cesena andRavenna, andLicida(Myslivecˇ ek’s date includetheSorceress ( 17th and18th centuries.Opera highlightsto and recording little-known sacred musicof the Giacomo Maggiore inBologna,performing He worked withCappellaMusicalediSan Conservatory andBolognaUniversity. Sonia Prina.HestudiedmusicattheFerrara Andalò, thenwithWilliamMatteuzzi and in 2005,first withFabrizio Facchini andMichele Vistoli beganhisvocal training ascountertenor After studyingclassicalguitar andpiano,Carlo Carlo Vistoli Philippe Delval Catalunya MúsicaandMusiq’3Belgium. live recordings for Radio France, Radio for arange of record labels,aswell as Lucía Martín-Cartónhasmade recordings Mass andOrff’s Haydn’s ‘Nelson’Mass,Schubert’sGmajor Messiah Requiem and she hassunginFalvetti’s mayor enamor, levence Amor guerra delosgigantes Irène (Campra’s Orfeo edEuridice Flute Her operatic roles includePamina ( Carlo Vistoli ), Zerlina( , Bach’s Magnificat andcantatas, ) atBologna’sTeatro Comunale. withLaPietàdeiTurchini inNaples; countertenor Exsultate, jubilate Les fêtes vénitiennes Carmina burana ), Venus ( ) andSiringa( Nabucco Venus andAdonis Dido andAeneas ), Amore (Gluck’s ). Inoratorio, , Handel’s , Handel’s , amongothers. , Mozart’s , Mozart’s inPoitiers The Magic El imposible El imposible ), Novia ( ), ), ) in ) in La La and SirJohnEliot Gardiner. Healsoparticipated Monteverdi tour withtheEnglishBaroque Soloists Philharmonie andundertaken anextensive Les ArtsFlorissantsandPaul Agnew attheParis year hehassunginMonteverdi’s European tour of Arts FlorissantsandWilliamChristiea a Far Easttour withLeJardin desVoix, Les mater Recent engagements includeArvo Pärt’s il sole the Spoleto Festival herevived Cini inVenice andattheRavenna Festival, whileat He alsoappeared inconcertattheFondazione for whichhewas awarded aHelpmannAward. role of (Handel’s Warsaw withLeJardin desVoix. Hethentook the last year hesanginLaRochelle, Bordeaux and and Aeneas under Giovanni Montanari, andtheSpirit( He thensangFebo (Caldara’s Guarnieri’s his debutattheRavenna Festival inAdriano and theLucerneFestival. InJune2015 hemade Paris andMoscow, atNew York’s LincolnCenter Australia andChinahasgiven concertsin Voix. Withinthisscheme,hehastoured France, In 2015 CarloVistoli was enrolled inLeJardin des China. performance of acomplete Handelopera in directed by David Stern inShanghai–thefirst as ( Bologna underLucaGiardini; andhisrole debut Alexis Kossenko; García Alarcón. at theAix-en-Provence Festival underLeonardo in themodern-day premiere of Cavalli’s . inTurin andatMilan’sMITO Festival, L’amore chemove ilsoleel’altre stelle ) atTurin’s Teatro Regio. InJanuary King Arthur Messiah under Christie. This underChristie.This ) with Opera Fuoco ) withOpera Fuoco inRome, Riminiand L’Amore chemove Dafne Orfeo ) in Brisbane, ) inBrisbane, ) inVenice with with Erismena Stabat Dido Dido .

Philippe Matsas Cyril Auvity and Clérambault, amongothers. entitled Bellérophon labels, includingthetitle-roles inLully’s He hasrecorded widelyfor anumberof Monostatos ( ( Giovanni under Hervé Niquet;DonOttavio ( performed thetitle-role inRameau’s vénitiennes David et Jonathas with WilliamChristieincludeCharpentier’s Highlights from hislongstanding collaboration Emmanuelle Haïm. the title-role inCharpentier’s House andtheAldeburgh Festival; and Toronto; Gabriel Garrido;Charpentier’s Rousset; Cavalli’s Purcell’s conductors, includingLully’s and opera houses,working withprominent He hasappeared atmany leading festivals extensively inEurope andtheUS. role of Telemaco ( an earlystage inhiscareer andperformed the He cameto theattention of WilliamChristieat Competition. as winningtheClermont-Ferrand Singing Conservatory inLille1999, thesameyear before completinghismusicalstudiesatcity’s Cyril Auvity read Physics atLilleUniversity Cyril Auvity The Marriage of Figaro Orphée The FairyQueen Dido andAeneas ) underEmmanuelKrivine;Basilio andLully’s , tenor The Magic Flute Phaéton featuring works by Rameau Gli strali d’Amore Il ritorno d’Ulisseinpatria , Campra’s and Atys ) underHaïm;and under Christophe atNancyOpera . Hehasalso Amadis Persée ) inBordeaux. Actéon Les fêtes Médée andadisc Don and under under Pygmalion in )

Senne Van der Ven Pommerat for Bordeaux Opera. Boesmans’s Benjamin LazaratPerm Opera and Philippe (Lully’s Current andfuture highlightsincludeSommeil under Jordi Savall inParis andBarcelona. under ; andCeix(Marais’s the title-role in Charpentier’s State Opera underIvor Bolton; thetitle-role in (Rameau’s Galatea Recent engagements includeAcis ( and NicolasAchten inhishometown of Leuven. In 2007hebeganstudyingwithAnneMertens early age inthechildren’s choirClariCantuli. Reinoud Van Mechelenstarted singingatan Reinoud VanMechelen Reinoud Van Mechelen Versailles, BolshoiTheatre inMoscow, Barbican Edinburgh festivals, Royal AlbertHall, Château de group, withconcerts attheAix-en-Provence and he hasregularly performed asasoloistwith the academy runby LesArtsFlorissants. Sincethen take partinthefifth Jardin des Voix, theBaroque InHervéNiquet. under 2011 he was selected to Plutus inDestouches’s Européenne inAmbronay, where hesang In 2007hetook partintheAcadémie Baroque Year by theBelgianmusicpress. the Caecilia Prizefor Young Musicianof the graduating in2012. Thisyear he was awarded and subsequentlywithDinaGrossberger, of Brussels,where hestudiedwithLenaLootens A year later hewent to theRoyal Conservatory Phaëton ) withDamienGuillon;Valère/Tacmas Les Indesgalantes Pinocchio Actéon Orfeo ) inanew production by withLesArtsFlorissants withLesTalens Lyriques; , staged by Joël Le carnaval et lafolie tenor ) attheBavarian Acis and Alcione

) 15 About the performers 16 Philippe Parent leading ensembles,includingCollegium He hasalsoappeared asasoloistwithother Brooklyn Academy of MusicinNew York. Philharmonie andOpéra Comiqueand the Centre, Palais desBeaux-Arts inBrussels,Paris Tisiphone ( Momo (Rossi’s Husband (Poulenc’s Mercury ( ( on theoperatic stage. Hisroles includePapageno repertoire, singingboth baritone andtenor roles Marc Mauillon hasanunusuallyextensive Marc Mauillon which was warmly critically acclaimed. released hisfirst soloCD,of ariasby J SBach, numerous CDsandDVDs andlastyear Reinoud Van Mechelenhasfeatured on Serail debuts asBelmonte ( as Jason(Charpentier’s and, earlierthisyear, hisZurichOpera debut Rameau’s de Bordeaux; aconcertperformance of in Rameau’s Liverpool PhilharmonicOrchestra, thetitle-role (Bach’s Other highlightshave includedtheEvangelist Orchestra. Musicali andtheEuropean UnionBaroque Consort, CapriccioStravagante, Scherzi L’Arpeggiata, LudusModalis,B’Rock, Ricercar Harmonique, IlGardellino, InsulaOrchestra, Les Talens Lyriques,Pygmalion,LePoème Vocale, LeConcertSpirituel,LaPetite Bande, Marc Mauillon The Magic Flute ) andGérald ( St JohnPassion Orpheus intheUnderworld Dardanus Orfeo baritone ), Bobinet( LesmamellesdeTirésias Lakmé ), Hatred (Lully’s underRaphaël Pichon Die Entführungausdem attheOpéra National ) withtheRoyal Médée La vieparisienne ). ), theSorceress ) andhisrole ), the ), the Armide ), ), ), ), ), ), in Mexico; aseriesof recitals withAngélique Marais’s well asfor two recitals; arevival inCaen of Henry Purcell Paris’s Opéra Comiquefor Highlights thisseasonincludeareturn to by BruceChatwin’s monodic In 2016, hecreated and Peri andCaccini withAngéliqueMauillon. Pierre Hamon,Poulenc withGuillaumeCoppola As arecitalist hehasperformed Machaut with and Maxime Pascal, amongothers. Emmanuelle Haïm,Laurent Campellone Jordi Savall, VincentDumestre, Hervé Niquet, Pichon, Christophe Rousset, AlainAltinoglu, William Christie,Marc Minkowski, Raphaël He appearswithleading conductors, including programmes of medieval andRenaissance music. Montéclair orClérambault, Healsoperforms or cantatas by Bach, Handel,Vivaldi, Telemann, Italian madrigals by Monteverdi orGesualdo, Lully, Rameau, Desmarest, Campra orCouperin, Charpentier orBacilly, motets by Charpentier, equally athomesingingcourtairsby Lambert, In concert,heissimilarlywideranging, such asRaulito (OscarStrasnoy’s Pélée (Marais’s et Mélisande Egisto ( recording of Lambert’s Warsaw andRouen; andthepremiere Mauillon; areprise of Dido andAeneas andMonteverdi’s Alcione a cappella ), Adonis (Blow’s , directed by Katie Mitchell, as Alcione underSavall; ), thetitle-roles inCavalli’s Songline Songlines work inspired Songline ) andfemale characters Les leçonsdeténèbres Orfeo Miranda: after , a , a . Venus andAdonis , Pelléas ( in Munich, inMunich, Israel inEgypt Cachafaz Pelléas ). ). . ), ), practice of shape-note singing. research focused ontheperformance from Yale University, where hismusicological Music andholdsthree advanced degrees He isagraduate of theEastmanSchoolof of theLakes Area MusicFestival inBrainerd, MN. serves astheFounding Associate ArtisticDirector for adventurous programming in 2016), andhe (which won ChamberMusicAmerica’saward New York-based ensembleCantata Profana John Taylor Ward isafounding memberof the productions for theBoston EarlyMusic Festival. direction of Peter Sellars;andanumberof premier of Viver’s which was thenreleased onDVD; theAmerican staging of Recent highlightsincludetheworld-premiere Baroque SoloistsunderSirJohnEliot Gardiner. and theNew York Philharmonic;andtheEnglish Seattle Symphony Orchestra; Semyon Bychkov Les ArtsFlorissants;ThomasDausgaard andthe Pluhar andL’Arpeggiata; WilliamChristieand This season, he appears as a soloist with Christina expressivity’. ‘finely calibrated precision andheart-rending ‘velvety suaveness’, ‘stylishabandon’and Ward hasbeenvariously praised for his The dynamicyoung baritone JohnTaylor John Taylor Ward John Taylor Ward Orfeo Chamán Kopernikus baritone withL’Arpeggiata, under the underthe

Cecilia Montesinos Cyril Costanzo following year hewas thebasssoloistinPurcell’s 2010, astheSecondSoldierin Requiem. Hemade hisstage debutinBordeaux in Mozart’s Requiem andMassesBiber’s sacred pieces,includingHandel’s He hasperformed several oratorios andother Queen have includedSleepandHymenin Noir withMichelLaplénie.Hisroles there Musique AncienneattheFestival duPérigord studying Baroque musicattheAcadémie de course attheCNIPAL inMarseille.Heiscurrently Louise Duthoit,alsoundertaking aone-year Udo Reinemann, Yvonne Minton andMarie- to work ontechnique withGuillemette Laurens, in 2007. Hegraduated in2011 andcontinued with LucCoadou attheToulon Conservatoire initially studiedgeography, turningto vocal studies Cyril Costanzo was borninToulon in1985. He Cyril Costanzo Ode for St Cecilia’sDay Christie andstaged by ClémentHervieu-Léger. Monsieur dePourceaugnac Book of Madrigals highlights includeatour of Monteverdi’s Mondonville withLesArtsFlorissants.More recent of Madrigals and Agnew. In2014 hesangMonteverdi’s SixthBook the 2013 springtour withWilliamChristieandPaul singers of LesArtsFlorissants,andparticipated in sixth Jardin desVoix, theacademy for young Cyril Costanzo was selected to participate inthe repertoire, from Renaissance to contemporary. Coadou, withwhomhehassungawiderange of soloist inLesVoix Animéesunderthebaton of Luc An experienced ensemblemusician,heisabass also sangVulcain inGounod’s L’opéra auvillage festival inPourrières, where he several opera andoperetta roles, notably atthe andHuascarin

bass bass grands motets underPaul Agnew andLully’s Les Indesgalantes . Hisrepertoire includes , conducted by William The Magic Flute Philémon et Baucis. by Rameau and The Fairy The Fairy Eighth Eighth . ; the ; the ,

17 About the performers 18 partnership withthe Juilliard SchoolinNew York. chorus for aproduction. Theensemblealso has a conservatory students to jointheorchestra and Juniors programme, launchedin2007, enables of new singersinto thelimelight.TheArtsFlo has already brought asubstantial number created in2002,itisheldevery two years and notably the Academy of theJardin desVoix: education programmes for young musicians, In recent years, ithaslaunchedseveral motets to large-scale works (particularlythe by Purcell, among others) anditsapproach and Gesualdo,courtairsby Lambert,hymns Lully andCharpentier, madrigals by Monteverdi chamber-music programmes ( as well ashis Handel’s Montéclair’s Campra’s Actéon Anacréon of operas andoratorios (Rameau’s acclaimed concertorsemi-staged performances in theconcerthall,asillustrated by itsmany Les ArtsFlorissantshasanequallyhighprofile ( Landi ( frequently performed composers,suchas (his opera trilogy).Italsochampionsless Entführung ausdemSerail Fairy Queen Purcell ( and and Galatea Florissants Charpentier ( Boréades ( Notable productions includeworks by Rameau that LesArtsFlorissantshasfound mostsuccess. revived inMay 2011, itisinthefield of opera Comique inParis in1987, whichwas triumphantly Since itsproduction of from anopera by Marc-Antoine Charpentier. conductor WilliamChristie, andtakes itsname the Franco-American harpsichordist and Les ArtsFlorissantswas founded in1979 by The renowned vocal andinstrumental ensemble Florissants Les Arts Les fêtes vénitiennes Les Indesgalantes L’Allegro, ilModerato edilPenseroso Il Sant’Alessio and of Rameau, Mondonville andCampra). King Arthur and , Giulio Cesare and and Les Idoménée La descente d’Orphéeauxenfers, ), Mozart( , Jephté Médée Messiah Les fêtes d’Hébé Armide , , , Rossi’s Hippolyte et Aricie Dido andAeneas ), Cesti( , ) andHérold ( andMozart’s , David et Jonathas , ), Handel( and The Magic Flute Atys withCeciliaBartoli, ), itssecularandsacred ) andMonteverdi by LullyattheOpéra Platée L’Orfeo Il Tito , , petits motets , Charpentier’s , Charpentier’s , ), Campra Susanna ), Lully and ), Lullyand Zampa Idomeneo and and Zoroastre grands and , and Les Les , Les Arts Les Arts , ), ), ). , Acis The The by by Die Die ,

,

Philharmonie deParis, Tchaikovsky Concert des Voix (Angers,Madrid, Caen, Zaragoza, Garden’ withthesingersof theeighthJardin Orange County, Sonoma,Berkeley); ‘AnEnglish the Americancontinents(Bogotá, LosAngeles, Dido andAeneas under thebaton of WilliamChristie:atour of Highlights thisseasonincludeperformances Florissants andLesJardins deWilliamChristie. of ‘Centre culturel deRencontre’ for LesArts at theFontevraud Abbey andtheaccolade directed by Paul Agnew, anew annualevent Voix inThiré, thecreation of aSpring Festival noteworthy events: thesettlementof LeJardin des This aimwas furthered in2017 through some creation of apermanentcultural venue inThiré. de WilliamChristieenVendée towards the the endowment fundLesJardins deMusique the festival, LesArtsFlorissantsisworking with Christie atThiré, intheVendée. Inaddition to musicales Le Jardin desVoix for concertsand pupils from theJuilliard Schoolandfinalists from brings together artistsfrom LesArtsFlorissants, départemental delaVendée. Anannualevent, it Christie, inpartnershipwiththeConseil created thefestival DanslesJardins deWilliam In 2012, WilliamChristieandLesArtsFlorissants non-musicians, adults asmuch children. designed for both amateur musiciansand France andallaround theworld. Theseare the PhilharmoniedeParis, intheVendée, in events aimedatbuildingnew audiencesat Les ArtsFlorissantsalsoorganises numerous Investment Bank are itsPrincipalSponsors. Arts Florissantsand Crédit Agricole Corporate & The SelzFoundation,AmericanFriends of Les at thePhilharmoniedeParis since 2015. Ensemble hasbeeninresidence and theDépartement delaVendée. The the French Ministry of Culture andCommunication Les ArtsFlorissantsreceives financial supportfrom Oviedo, Barcelona andattheBeauneFestival) du Nord inParis; andHaydn’s The Beggar’sOpera Pamplona andMadrid; anew production of by concertperformances inParis, Barcelona, McVicar attheViennaStaatsoper, followed Guth; Handel’s Opéra NationaldeParis, directed by Claus stage production of Handel’s of Monteverdi’s Hall inMoscow); thecurrent European tour in thegardens created by William Selva morale espirituale and Charpentier’s attheThéâtre desBouffes , directed by David Jephtha The Creation

promenades Actéon at the atthe

; a ; a on on in in Jonathan Cohen Cohen Jonathan Associate Conductor Paul Agnew Conductor Director/ Associate Associate Musical William Christie Founder Musical Director/ Florissants Arts Les

Nora Roll Lyrone Cyril Poulet Cello deSwarte Théotime Langlois Emmanuel Resche Violin

Massimo Moscardo Theorbo Nanja Breedijk Harp Douglas Balliett Violone

19 About the performers 15–17 Jun Bach Weekend with

Sir John Eliot Gardiner Sim Canetty-Clarke Gardiner Sir John Eliot Image: Hear JS Bach’s Violin Sonatas, Cello Suites, Goldberg Variations and glorious Cantatas all in our Bach Weekend, led by Sir John Eliot Gardiner and his Monteverdi Choir; music to truly gladden the heart.

Bach Weekend advert les arts A5.indd 1 22/11/2017 15:45