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Home , Atys (Lully), Correspondances, Festival de Beaune, Hippolyte et Aricie, Les Indes Galantes, Les Paladins

2019 Winter/Spring Season

Brooklyn Academy of Music

Adam E. Max, Katy Clark, BAM Board Chair President

William I. Campbell and Nora Ann Wallace David Binder, BAM Board Vice Chairs Artistic Director Rameau, maître à danser

By Jean-Philippe Rameau Les Arts Florissants

BAM Howard Gilman House Mar 1 & 2 at 7:30pm; Mar 3 at 3pm

Running time: approx. one hour and 55 minutes, including intermission

Musical direction by William Christie

Staging by Choreography by Françoise Denieau Restaging of choreography by Gilles Poirier Costume design by Alain Blanchot Lighting and set design by Christophe Naillet

2019 Winter/Spring is programmed by Joseph V. Melillo.

Season Sponsor:

Leadership support for opera at BAM provided by Aashish & Dinyar Devitre, and The Andrew W. Mellon Foundation

Major support for opera at BAM provided by Sarah Billinghurst & Howard

Major support for Rameau, maître à danser provided by Anne H.

Support preserving the vitality of BAM programming provided by the Lichtenstein family and generous donors to the BAM Harvey Fund

Support for the Signature Artists Series provided by the Howard Gilman Foundation Rameau, maître à danser

Jean-Philippe Rameau Jean-Philippe Rameau Daphnis et Églé La Naissance d’Osiris Heroic pastoral based on a Ballet based on a libretto by Charles Collé, 1753 by Louis de Cahusac, 1754

Élodie Fonnard Eglé Magali Léger Pamilie Reinoud Van Mechelen Daphnis Sean Clayton Un berger Magali Léger Amour Cyril Costanzo Le grand prêtre de Cyril Costanzo Grand prêtre François Lis Jupiter

Rameau, maître à danser comprises two “actes de ballet” by Jean-Philippe Rameau: Daphnis et Églé and La Naissance d’Osiris. These intimate and rarely staged works were composed for the “grand spectacles” danced at the court of Louis XV. Based on a libretto by Cahusac, La Naissance d’Osiris was commissioned to celebrate the birth of the Duke of Berry, the future Louis XVI; Rameau went on to use passages in his “tragédie lyrique” . Originally destined to liven up hunting parties at Fontainebleau, Daphnis et Églé is also proof—beneath its slight, yet utterly charming scenario—of Rameau’s artistic genius.

Thanks to a semi-staging which captures the spirit of the “théâtre de la foire” (fair theater) centered around a rural community, highlighting the idea of the pastoral idyll so beloved in France’s Age of Enlightenment, and the delicious choreography of the late Françoise Denieau, this production has achieved enormous public and critical success since it was first performed in France in 2014. This revival is given in memory of Françoise Denieau, choreographer of this production.

Production: Théâtre de Caen. Co-production: Les Arts Florissants (with the support of the Selz Foundation), Centre de Musique de Versailles. Executive Production of the revival: Les Arts Florissants with the support of Le Bureau Export.

CHOIR Soprano Pier Luigi Fabretti Maud Gnidzaz Emmanuel Resche Astrid Knöchlein Virginie Thomas Bernadette Charbonnier High Tenor Myriam Gevers Niels Coppalle Renaud Tripathi Patrick Oliva Amélie Boulas Sébastian Monti Catherine Girard Percussion Tenor Sophie Gevers-Demoures Marie-Ange Petit Benjamin Alunni Michèle Sauvé Musette Jean-Yves Ravoux Augusta Mckay Lodge François Lazarevitch Matthieu Peyregne Basso Continuo Bass Galina Zinchenko Laurent Collobert Kayo Saito David Simpson Christophe Gautier Jean-Luc Thonnerieux Doublebass Julien Neyer Cello Jonathan Cable Elena Andreyev DANCERS Alix Verzier Béatrice Martin Romain Arreghini Cyril Poulet Bruno Benne Andrea Miltnerova Serge Saitta Artur Zakirov Olivier Riehl Robert Le Nuz Anne Sophie Berring Photo by Phillippe Delval Who’s Who

SYNOPSES Daphnis et Églé La naissance d’Osiris Daphnis and Églé consider themselves Outside the Temple of Jupiter in Egyptian friends rather than lovers. Meeting in front Thebes, shepherds and townspeople sing of the Temple of Friendship, they plan to in praise of , while waiting for an swear an eternal friendship that will ensure unspecified event that will complete their their happiness. A group of shepherds happiness. Pamilie and a companion praise the god of Friendship, and the High extol love and constancy, and shepherds Priest of the temple warns them against bring gifts into the temple. At the sound of the unhappiness that Cupid brings. Just thunder, the people scatter. But the High as Daphnis and Églé are about to enter Priest calms their fears and announces the temple to perform their vow, thunder the god’s imminent appearance. Jupiter, is heard. The High Priest, divining the true accompanied by Cupid and the Graces, nature of their feelings, rebukes the couple descends in splendor and announces to and banishes them from the temple. Upset the Egyptians the birth of the god Osiris— and confused, Daphnis and Églé exchange the hero for whom they have longed. The tender reproaches but remain unaware of people celebrate the news. Jupiter ascends the increasingly amorous nature of their into the heavens, leaving behind Cupid sentiments. Cupid descends and explains and the Graces, who join in the general that it is love rather than friendship that celebrations. they feel. As the Pleasures and Sports enter and the Temple of Friendship is transformed © Graham Sadler into the Temple of Love, Cupid points out the moral: Love hides beneath a veil of friendship, and all friends are lovers when close to the object they adore.

Les Arts Florissants receives financial support from the Ministry of Culture and Communication, the Département de la Vendée and the Région Pays de la Loire. The ensemble has been in residence at the Philharmonie de since 2015 and has obtained the French national label “Centre Culturel de Rencontre”.. The Selz Foundation, American Friends of Les Arts Florissants, and Crédit Agricole Corporate & Investment Bank are Principal Sponsors. In 2019, Les Arts Florissants celebrates its 40th anniversary! Rameau, maître à danser

WILLIAM CHRISTIE (musical director), harpsi- by the Franco-American harpsichordist and chordist, conductor, musicologist, and teacher, conductor William Christie, the ensemble, named is a pioneer in the rediscovery and introduction after a short opera by Marc-Antoine Charpentier, of French Baroque music to a wide audience. has played a pioneering role in the revival of a Born in Buffalo, NY and educated at Harvard Baroque repertoire that had long been neglected and Yale, the turning point in his career came in (including the rediscovery of countless treasures 1979 when he founded Les Arts Florissants. As in the collections of the Bibliothèque Nationale director of this vocal and instrumental ensemble, de France). Today that repertoire is widely per- major public recognition came in 1987 with the formed and admired: not only French music from production of Lully’s at the Opéra Comique the reign of Louis XIV, but also more generally in Paris (the production’s US debut was present- European music of the 17th and 18th centuries. ed at BAM in 1989; its revival was presented The ensemble is directed by William Christie at BAM in Sep 2011), followed by many other who, since 2007, has regularly passed the con- successes in the French and European Baroque ductor’s baton over to British tenor . repertoire. Notable among his recent operatic Since the 1987 production of Lully’s Atys at the work are: Campra’s Les Fêtes vénitiennes in Opéra Comique in Paris, which was triumphantly 2015 at the Paris Opéra Comique and at BAM; revived in 2011, Les Arts Florissants has enjoyed in 2016 at the Théâtre des Champs- its greatest successes on the opera stage. Les Elysées; in 2018, Handel’s at the Arts Florissants enjoys an equally high profile Opéra national de Paris, at the Wiener in the concert hall, as illustrated by its many Staatsoper, L’Incoronazione di Poppea at the acclaimed concert or semi-staged performances , and John Gay’s The Beggar’s of and oratorios. Each season Les Arts Opera on European tour. As a guest conductor Florissants gives around 100 concerts and opera Christie often appears at opera festivals including performances in France—at the Philharmonie Glyndebourne ( in 2018) and opera de Paris, where they are artists in residence, houses such as the Metropolitan Opera and the Théâtre de Caen, Opéra Comique, Théâtre Zurich Opernhaus. His extensive discography des Champs-Élysées, Château de Versailles, as includes more than 100 recordings. The most well as at numerous festivals—and are an active recent, Un jardin à l’italienne, Bien que l’amour, ambassador for French culture abroad, regularly and Bach’s B Minor Mass were released by invited to New York, London, Brussels, Vienna, in the collection, “Les Arts Madrid, Barcelona, Moscow, and elsewhere. Florissants.” Wishing to further develop his work The group has performed at BAM numerous as a teacher, in 2002 Christie created with Les times; its most recent presentations are Les Fêtes Arts Florissants a biennial academy for young vénitiennes (2016), and Atys and Le Jardin singers, Le Jardin des Voix. Since 2007 he has de Monsieur Lully (2011). The ensemble has been artist in residence at The Juilliard School produced an impressive discography: nearly 100 in New York. In 2012, he launched the festival recordings (CD and DVD) and its own collection Dans les Jardins de William Christie in his own in collaboration with harmonia mundi, under gardens, located in the French village of Thiré the baton of William Christie and Paul Agnew. In in the Vendée. Christie has bequeathed his real recent years, Les Arts Florissants has launched estate assets to the Foundation Les Arts Floris- several education programs for young musicians. sants–William Christie, created in 2017. The most emblematic is the Academy of Le Jardin des Voix; created in 2002, it is held every LES ARTS FLORISSANTS two years and has brought a substantial number William Christie, Musical Director, Founder of new singers into the limelight. The Arts Flo Paul Agnew, Associate Musical Director Juniors program, launched in 2007, enables An ensemble of singers and instrumentalists conservatory students to join the orchestra and specializing in the performance of Baroque chorus for the length of a production, from the music on period instruments, Les Arts Florissants first day of rehearsals up to the final perfor- is renowned the world over. Founded in 1979 mance. The partnership between William Chris- Who’s Who

tie, Les Arts Florissants, and New York’s Juilliard Barcelona Symphony Orchestra), Her discog- School has since 2007 allowed a fruitful artistic raphy includes , Theodora, Acis and exchange between the US and France. Les Arts Galatea, , and three volumes of Mendels- Florissants also organizes numerous events sohn lieder. For EMI she has recorded Schumann aimed at building new audiences at the Philhar- lieder and Noel Coward songs; recordings with monie de Paris, in the Vendée, in France and all Les Arts Florissants include Grands Motets and around the world. Linked to each year’s concert Les Fêtes d’Hébé, and she recently recorded program, they are designed for both amateur mu- Masque of Moments (Linn Records). Daneman sicians and non-musicians, adults as much as directs the double bill of La naissance d’Osiris children. In 2012, William Christie and Les Arts and Daphnis et Églé for Les Arts Florissants, Florissants created the festival Dans les Jardins with performances in Caen, Luxembourg, Dijon, de William Christie, in partnership with the London, and Paris. Conseil départemental de la Vendée. An annual event, the festival brings together artists from Les GILLES POIRIER (choreography restaging), after Arts Florissants, pupils from The Juilliard School, studying dance at the Conservatoire National and finalists from Le Jardin des Voix for concerts Supérieur de Musique et de Danse de Lyon, and promenades musicales in the gardens creat- debuted in 1992 with the company Ris et Dan- ed by Christie at Thiré, in the Vendée. In addition ceries under the direction of Francine Lancelot in to the festival, Les Arts Florissants is working to the production Zarandanzas, and at Théâtre Ba- establish a permanent cultural venue in Thiré. roque de France under the direction of Philippe This anchorage strengthened in 2017 through Beaussant. From 1994 to 2004, he was a solo- some noteworthy events: the settlement of Le ist with the Baroque dance company L’ Eventail Jardin des Voix in Thiré, the creation of a Spring under the direction of Marie-Geneviève Massé, Festival (Festival de Printemps) directed by Paul where he participated in 10 productions that Agnew, a new annual event at the Fontevraud toured internationally. From 2005 to 2013, he Abbey, and the reward of the national title “Cen- appeared as guest dancer in various operas with tre culturel de Rencontre” for Les Arts Florissants choreographers Ana Yepes, Françoise Denieau, and Les Jardins de William Christie—an award Natalie Van Parys, Lucy Graham, and Jean Guiz- which distinguishes projects associating creation, erix. In 2014, Poirier became assistant to the patrimony, and transmission. In 2018 Fondation choreographer Françoise Denieau at Théâtre du Les Arts Florissants – William Christie was creat- Capitole de Toulouse (France), Opéra du Grand ed. William Christie gifted his entire Thiré estate Avignon, Théâtre de Caen, Festival du Périgord to the Foundation. arts-florissants.com Noir, and the Centre de Musique Baroque de Versailles. He currently teaches classical ballet at SOPHIE DANEMAN (staging) studied at the the Conservatoires de la ville de Paris. Guildhall School of Music and has established an international reputation in a wide-ranging rep- ALAIN BLANCHOT (costume design) studied ertoire. Her passion and affinity for the Baroque art history and fashion design at Cours Berçot, repertoire has led to her collaborate with many of and first worked in cinema and advertising the leading specialists in the field, in particular before designing stage costumes for singers such William Christie and Les Arts Florissants. An ac- as Brigitte Fontaine, Sapho, Anna Karina, and complished recitalist, Daneman has appeared at Ingrid Caven. In 2004, he began collaborating many of the world’s major recital venues, includ- with stage director Benjamin Lazar, for whom he ing Wigmore Hall, Concertgebouw, Amsterdam, created costumes for numerous operas: Le Bour- Musikverein Vienna, and Carnegie Hall. Operatic geois Gentilhomme (Monière/Lully), Il Sant’Ales- engagements include the title role in Rodelinda sio (Landi) with Les Arts Florissants and William (Onafhankelijk Toneel), Arianna, Cleopatra (Gi- Christie, and (Lully). He ulio Cesare) and Dalila (; Göttingen Han- regularly worked on Baroque opera productions, del Festival), and Mélisande (Opéra Comique). as well as for contemporary and classical operas She has sung Servilia (La Clemenza di Tito; in France and abroad, with stage directors such Who’s Who

as Louise Moaty, David Bobee, Ivan Grinberg, of William Christie’s Le Jardin des Voix in 2011, Robert Carsen, and more, while pursuing a she is a regular collaborator with Les Arts Floris- career in theater. In 2010, he created costumes sants (Flore in Atys, Belinda in Dido & Aeneas, for Maison Guerlain. His costumes have been Galatea in Acis & Galatea, Les Fêtes Véniti- exhibited at the Centre National du Costume ennes). With them, she performs in venues such de Scène in various shows, notably on Les Arts as the Philharmonie de Paris, Opéra Comique, Florissants, the Arabian Nights, fairy tales, and Festival d’Aix-en-Provence, Bolshoi in Moscow, the history of the Paris Opéra Comique. His fu- Lincoln Center, Walt Disney Hall in Los Angeles, ture projects include a production of The War of and Forbidden City Hall in Beijing. Recent Roses (Warren Adler), Arlequin serviteur de deux highlights include the title role in Orphée & Eu- maîtres (Goldoni) at the Avignon Festival, and a rydice at Opéra de Dijon, Diane in Actéon in Los new opera production in Germany. Angeles, La Musica & Euridice in Orfeo with Les Timbres, Eurydice in La descente d’Orphée aux CHRISTOPHE NAILLET (lighting design) has Enfers with Correspondances (Sébastien Daucé), created lighting for composer Nicolas Frize and and recitals with Les Musiciens de Saint-Julien choreographer Didier Théron, as well as for the (François Lazarevitch), Les Folies Françoises Festival d’Île-de-France, theater company La (Patrick Cohën-Akenine), and La Simphonie du Mandragore, and Théâtre Jean Vilar in Montpel- Marais (Hugo Reyne). Fonnard contributed to lier. He is a frequent collaborator of stage director various recordings. Her latest one, the Brossard Benjamin Lazar: La Vita Humana, et & Bouteiller’s Motets with Les Arts Florissants Enée, (Molière and and Paul Agnew, was released in 2018. Lully, 2005), Il Sant’Alessio (Landi) with Les Arts Florissants in 2007, Cadmus et Hermi- MAGALI LÉGER one (Lully) in 2009, Les Amours tragiques de (soprano; Amour/ Pyrame et Thisbé (Théophile de Viau) in 2009, Pamilie) began her and Cendrillon (Massenet) in 2011. He has vocal studies with also worked with the ensemble Les Cris de Paris C. Eda-Pierre before on the productions LALALA, Memento Mori, entering the Paris Tout est Vanité, Egisto (Cavalli), Cachavaz, and Conservatoire, where Ricardo primo. With stage director Louise Moaty, she also worked with he contributed to the productions of C. Patard. Her career (Handel), Vénus et Adonis (John Blow), L’Em- began in 1999 with pereur d’Atlantis, and La Lanterne Magique. He the role of Philine is a regular collaborator with Les Arts Floris- (Mignon) at Opéra de sants, for whom he designed the lighting of the Nantes. The next year she played Curly’s Wife in productions Rameau, maître à danser in 2014 the European production of Of Mice and Men. and Orfeo (Monteverdi) directed by Paul Agnew Since then she has worked with many leading in 2017. conductors and ensembles. Highlights in the op- era house have included Blonde (Die Entführung ÉLODIE FONNARD aus dem Serail) under ; Coraline (soprano; Eglé) (Le toréador) at the Opéra Comique; Sophie studied singing at the (Werther) at Bologna’s Teatro Comunale; Adina Conservatoire de Caen (L’elisir d’amore); Minka (Le roi malgré lui) at with L. Coadou. She Lyon Opéra; Ilia (Idomeneo) under Jérémie Rhor- made her professional er at the Beaune Festival; and Nadia (The Merry debut with Le Concert Widow) at Lyon Opéra. More recently, in Vienna, d’Astrée (Emmanuelle she sang Crobyle (Thaïs) and Princesse Laoula Haim) and Le Poème (L’étoile at Luxembourg’s Grand Théatre). In con- Harmonique (Vincent cert, she has appeared with leading ensembles, Dumestre). A laureate including the English Concert and Kenneth Weiss Who’s Who

and Les . Recent operatic highlights the title role in Rameau’s Pygmalion at Dijon have included Leïla (Les pêcheurs de perles) and Opera. The 2018—19 season highlights include Thérèse (Les mamelles de Tirésias) at the Feld- debuts at Théâtre royal de la Monnaie (Tamino, kirch Festival in Austria; Léonore (L’amant jaloux) Die Zauberflöte) and at the Staatsoper Berlin at Opéra Royal de Versailles and Opéra Comique; (Hippolyte, ). Van Mechelen’s and in Toulouse, Gabrielle (La vie parisienne). CD- and DVD-productions include his first solo Léger’s discography includes Fauré’s La bonne CD, Erbame Dich (arias by Bach) released by chanson and discs of Handel and Pergolesi with Alpha Classics in 2016. His second solo CD, her Baroque ensemble RosaSolis. Clérambault, cantates françaises (Alpha Clas- sics) was released in 2018 to acclaim. REINOUD VAN MECHELEN (tenor; SEAN CLAYTON (ten- Daphnis) graduated in or; Un berger) trained vocal studies from the at the Birmingham Conservatoire Royal in Conservatoire with J. Brussels (2012, class Pike and continued of D. Grossberger). In studies at the Royal 2017 he was award- ed the Caecilia Prize College of Music in as Young Musician of London with N. the Year. In 2007 he Mackie. A versatile performed at Europe- tenor equally at an Baroque Academy in Ambronay (France). In home on both the 2011 he was a member of Jardin des Voix and opera stage and in became a soloist with Les Arts Florissants. He concert, Clayton has performed all over the world guested with the ensemble at Festival d’Aix- including at Opéra Garnier, Opéra Comique and en-Provence, Edinburgh Festival, Château de Théâtre des Champs-Elysées in Paris, Festival Versailles, Bolshoi Theatre, Royal Albert Hall and d’Aix-en-Provence, Opera National de Bordeaux, the Barbican Centre (London), Palais des Beaux- Bolshoi Theatre in Moscow, Mariinsky Theatre in Arts (Brussels), the Philharmonie and Opéra St. Petersburg, BAM and Lincoln Center in New Comique (Paris), and BAM (New York). Many York, Radialsystem V in Berlin, Royal Albert Hall renowned Baroque ensembles such as Collegium and the Barbican in London, Auditorio Nacional Vocale, , Pygmalion, L’Arpeg- de Música in Madrid, Palau de la Música in giata, B’Rock, Ricercar Consort, and Hespèrion Barcelona, Mozarteum in Salzburg, National XXI have engaged him.In recent seasons, he Concert Hall in Dublin, and Wexford Festival performed the title roles in (Opéra Opera. In 2009, Clayton was invited to be part national de Bordeaux) and Zoroastre (concert tour to Festival de Montpellier and Radio-France, of Le Jardin des Voix, the young artists program Festival d’Aix-en-Provence, , of Les Arts Florissants directed by William Chris- Théâtre Royal in Versailles, and Theater an der tie. Since then he has sung several roles and for Wien). In 2016—17 he made his Zurich Opera numerous choral projects, including music of debut as Jason in Médée conducted by William Scarlatti and Charpentier. Since 2011, he has Christie. He added concert roles: Belmonte been a part of Les Arts Florissants’ Monteverdi (The Abduction from the Seraglio; Orchestre de Madrigal project directed by Paul Agnew, per- Chambre de Paris) and Gérald (Lakmé; Munich forming the eight books all over Europe. Clayton Radio Orchestra). Besides performances with has sung for many other ensembles including his own ensemble, a nocte temporis, he took Le Poème Harmonique with Vincent Dumestre, part in 2017—18 in a celebration of the 30th Ensemble Correspondances with Sébastien anniversary of the Concert Spirituel (Un opéra Daucé, and Accentus with Laurence Equilbey. imaginaire) and concert tours with Les Arts He is also a member of Ensemble Perspectives, Florissants (Actéon, US; Selva Morale, Paris, a five-member vocal group that explores the Versailles, Caen, Berlin, London). He performed Who’s Who

diversity of a cappella repertoire, from Tallis to (dir. Paul Agnew). He has also taken part in the the Beatles via Ligeti and Ellington. Recent opera stage productions of engagements include: Shepherd in Orfeo with (Lully/Molière) conducted by Christie between Les Arts Florissants directed by Paul Agnew; 2016 and 2018, and of Monteverdi’s Orfeo Don Carlos/Tacmas in with directed by Agnew in 2017—18. Il Giardino d’Amore/Stefan Plewniak (Bydgo- szcz Opera Festival, Lutosławski Concert Studio FRANÇOIS LIS (bass; Warsaw); Messenger in Theodora (Théâtre des Jupiter) earned a Champs-Élysées, Paris); Démocrite in Les Fêtes bachelor in musicol- Vénitiennes (Opéra Comique, Paris); Berger in La ogy from Sorbonne Naissance d’Osiris (Théâtre de Caen). University and studied at Conservatoire National Supérieur CYRIL COSTANZO de Musique de Paris (bass; Grand prêtre/Le (2003), the Mozarte- grand prêtre de Jupi- um (Salzburg), and ter) trained at Toulon the Merola program Conservatoire Régional (San Francisco Op- with L. Coadou, era). Performances include King Arthur, Poppea, studying technique Les Boréades, Bâle, Platée, Colline, and La with G. Laurens, U. Bohème. Lis has sung in la Cenerentola (la Reinemann, Y. Minton, Monnaie), Les Troyens (l’Opera du Rhin), Zuniga and M. Duthoit, and (Theatre du Capitole de Toulouse, Théâtre du studied Baroque music Chatelet Paris), Escamillio (Skopje Festival), La at the Académie de Pietra del Paragone (Théâtre du Chatelet), Don musique ancienne at the Festival du Périgord Giovanni (Opera Fuoco), and more. He made Noir with M. Laplénie. An experienced ensemble his debut in the title role in le Nozze di Figaro musician, he sings as bass soloist in the vocal with William Christie at Opéra de Lyon, which ensemble Les Voix Animées under the baton of he reprised at Dublin Opera. He sang Hippolyte et Aricie (Capitole de Toulouse), Platée (Opéra Luc Coadou with whom he sings all kinds of national du Rhin), Dardanus (Lille), and Don repertoire, from Renaissance to contemporary. Giovanni (Théâtre des Champs Elysées). In 2011 In 2013, Costanzo was selected to participate he debuted in the role of Marcel in Les Hugue- in the sixth Jardin des Voix, the academy for nots at la Monnaie. In 2012—13, he participat- young singers of Les Arts Florissants, with whom ed in Fénelon’s JJR, Citoyen de Genève, debuted he went on an international tour (New York, at Glyndebourne Festival in Hippolyte et Aricie, Amsterdam, Madrid, Paris) under the direction of and at the Hollywood Bowl as Zuniga in Carmen William Christie and Paul Agnew. He has since (Caracas; la Scala). At Opéra de Paris, produc- become a regular collaborator with the ensemble, tions include , Platée, Aridane auf Naxos, for various concert programs: the Sixth Book and la Traviata, la Forza del Destino, and L’enfant et Eighth Book of Monteverdi madrigals (dir. Paul les Sortilèges. In 2018—19 Lis returns to the Agnew); Rameau and Mondonville’s Motets solos Dutch Opera in Oedipe and to Paris for Carmen. (dir. William Christie); Bach’s Motets (dir. Paul He sings Don Basilio (Il Barbiere di Siviglia) in Agnew), Monteverdi’s Selva Morale e Spirituale Bordeaux and the roles of Osman and Ali (Les (dir. William Christie); and A Christmas Night Indes Galantes) at the Grand Théâtre de Génève.