BRISBANE2016

BAROQUEIN ASSOCIATION WITH

8 - 16 APRIL HOBART “...that sprawling, ungainly but glorious era that spawned some of the world’s greatest art, architecture and music... the .” Waldemar Januszczak Art critic, broadcaster, journalist and BBC TV presenter

Welcome to..... BRISBANE BAROQUE BACHMUSIC IN THE CASTLE OF HEAVEN*

SATURDAY 9 APRIL 7:30PM CONCERT HALL, QPAC

Bach was an ordinary man who wrote extraordinary music. Asked for the secret of his musical success, he replied: “I was obliged to be industrious; whoever is equally industrious will succeed equally well.” Modesty probably forbade him to mention that one also needed genius. A GALA CELEBRATION For this Gala Bach Celebration, The Australian Voices under the inspired direction of Gordon Hamilton, and a group of exciting young vocal and instrumental soloists including star soprano Greta Bradman, British tenor Nicholas Scott, virtuoso violinists OF THE MUSIC OF Ioana Tache and Kristian Winther and organist Christopher Wrench join forces with members of the Queensland Symphony Orchestra directed by rising star Australian conductor Jessica Cottis to celebrate the marvel of Bach’s music, both sacred and secular. Three centuries after the ’s birth, his imperishable compositions remain as powerful, inspiring and beautiful as when first heard, fresh and new-minted. *The title of this concert is a salute to Sir ’s magisterial study of Bach’s music, of the same name. THE was born in Venice in 1678. In 1703, aged 25, he was ordained and was nicknamed il Prete Rosso, The Red Priest, on account of his red hair. Within a year of his ordination, he was given a dispensation from celebrating Mass because of his ill health and he gradually abandoned priestly duties.

In September 1703, Vivaldi became maestro di violino at the Ospedale della Pietà, an orphanage for the illegitimate daughters of the Venetian aristocracy. The girls received a musical education and the most talented stayed and became members of the Ospedale’s renowned orchestra and choir.

Over the next thirty years, while working at the Pietà, Vivaldi composed most RED of his major works. His output was staggering – five hundred , fifty , numerous liturgical works and scores of sonatas for various combinations of instruments.

Brisbane Baroque celebrates the three major facets of this protean talent in a recital of and concertos, a selection of his church music, and a special evening of music composed for the women of the Ospedale and PRIEST performed by an all-female choir and orchestra. IMAGE: ANTONIO CANAL, CALLED CANALETTO THE RETURN OF DOGE’S BARGE TO MOLO ON ASCENSION DAY THE RED PRIEST AT QPAC VIVA! ‘Her voice is as striking as VIVICA + her looks: less striking, even, VIVALDI for the light, free Our tripartite celebration of the music Brisbane Baroque is of Antonio Vivaldi begins with a GALA upper notes or honoured to present CONCERT featuring Brisbane’s Camerata of St John’s and the first Australian rich chocolaty the exclusive Australian concert appearance of the magnificent concert debut of the American mezzo soprano Vivica Genaux. lower ones than internationally renowned Famed not only for the beauty of her voice and extraordinary technique but for the runs of American virtuoso mezzo also for her vibrant character portrayals, Genaux is consistently lauded as one of soprano Vivica Genaux. the pre-eminent interpreters of baroque coloratura that and bel canto music. She has appeared with some of the most famous early she releases with music ensembles in the world including IN CONCERT WITH under , Le Concert Spirituel with Herve Niquet, jackhammer CAMERATA OF ST JOHN’S with Christophe Rousset’s famed Les Talens Lyriques and Rene Jacob’s speed, gunfire Akademie für Alte Musik in Berlin. precision and the Alaska-born, Genaux now lives near Venice, and music by Antonio Vivaldi, the city’s emblematic composer, figures limpid continuity prominently in her repertoire.

of spring Making a welcome return to the QPAC Concert Hall after their sensational raindrops.’ major debut there last year, is Brisbane’s youthful Camerata of St John’s under the direction of Brendan New York Times Joyce, and with the acclaimed Erin Helyard on . Their appearance in the QPAC Concert Hall in the inaugural Brisbane Baroque last SUNDAY 10 APRIL 7:30PM year caused a sensation. CONCERT HALL, QPAC The program comprises some of Vivaldi’s most exuberant virtuoso arias and a selection from his set of twelve concertos known as La Stravaganza, EXCLUSIVEEXCLUSIVE TO TO BRISBANE BRISBANE works that some connoisseurs prefer to his better known Four Seasons. PHOTO: CHRISTIAN STEINER ATTHE THE RED RED BRICK CHURCH PRIEST AT RED HILL Visible from all directions, St. Brigid’s ‘The indisputable hits of the evening WITH CAMERATA Church, perched triumphantly atop Red Hill, is one of the finest heritage OF ST JOHN’S buildings in Brisbane, a splendid were local heroes the Camerata of example of the Arts and Crafts style, Brisbane’s iconic which emerged in the UK and America St John’s... Watch this space. This architectural landmark in the late 19th century and was much ensemble is going places.’ favoured in Australia’s Federation era. plays host to the Its architect, Robin Dods, was born in city’s dazzling New Zealand but he was educated at The Australian Brisbane Grammar and is regarded as chamber music a Queenslander. Were he to have left orchestra. no building other than this magnificent church, he would still have that distinction, just as Joern Utzon will be forever associated with the great building on Bennelong Point.

Architecture has been described as frozen music, so it is fitting that during Brisbane Baroque, St. Brigid’s will resonate to the glorious church music of Antonio Vivaldi, brought to you by one of the current glories of Brisbane, the superb Camerata of St John’s.

For the first time ever, the Red Priest comes to Red Hill.

WEDNESDAY 13 APRIL 7:00PM ST BRIGID’S CHURCH, RED HILL

EXCLUSIVE TO BRISBANE THE RED PRIEST AT THE OSPEDALE DI PIETÀ WOMEN OF THE PIETÀ

Antonio Vivaldi was born and brought up A concert of music composed near the Ospedale della Pietà, a home for by Antonio Vivaldi for the the care of illegitimate daughters of Venetian noblemen and generously funded (mostly women of the Ospedale by anonymously) by them.

Antonio Vivaldi performed by a In 1703 Vivaldi was engaged as a violin choir and orchestra comprised teacher at the Pietà and he worked there on an off for thirty-six years, until 1740, the entirely of women and year before he died.

conducted by EMILY COX The young girls who grew up at the Ospedale received a thorough education and superb With the women of musical training and their performances CANTICUM CHAMBER CHOIR, were famed throughout Europe and beyond. Francisco Guardi’s lively painting shows ensemble ALCHEMY and stage an elegant assembly at a reception for the Tsarevich of Russia in the Grand Salon of director ANATOLY FRUSIN the Pietà with the women, in their distinctive black dresses and white fichus, ranged in three tiers overlooking the guests.

During 1739 and 1740, the celebrated French writer Count Charles Brosses travelled widely in Italy and corresponded enthusiastically with friends in his home city of Dijon. In one letter, written in Venice, he noted that “the Ospedale has the best music here… the girls are brought up at the State’s expense and trained exclusively in music. Indeed they sing like angels, play the violin, flute, organ, , …. . The performances are entirely their own and each concert is composed of about forty girls.”

In the atmospheric surroundings of St. John’s Cathedral celebrated chorus director Emily Cox directs the women of Brisbane’s FRIDAY 15 APRIL 7:30PM admired Canticum Chamber Choir and the ST JOHN’S CATHEDRAL, BRISBANE musicians of Alchemy in a program evocative of the atmosphere of the Pietá. EXCLUSIVEEXCLUSIVE TO TO BRISBANE BRISBANE EXCLUSIVE TO BRISBANE ‘HHHHH Esfahani has the ability to breathe the lines so naturally that the harpsichord seems to sing.’ The Guardian, UK

‘Dashingly eloquent, dizzyingly skilled, Esfahani makes the harpsichord seem an instrument reborn.’ The Times, London

‘His passionate engagement with the music was totally captivating’ The Telegraph, London

‘Iranian-American harpsichordist Mahan Esfahani is a force of nature – a dazzlingly persuasive advocate for his instrument.’ Gramophone THURSDAY 14 APRIL 7:30PM CONCERT HALL, QPAC

MAHANESFAHANI15

MAHAN ESFAHANI IMAGE: AGRIPPINA CROWNING HER SON, NERO, EMPEROR ROMAN CIRCA AD 54-59

Other highlights include recitals in the received wide critical acclaim, winning Brisbane Baroque is honoured concert halls of Vienna, Tokyo, Nagoya, a Diapason d’Or, and was ‘Recording of to host the first appearance Cologne, New York, Washington DC, the Month’ in BBC Music Magazine. ‘Megalomania, sadism, in Australia of this astonishing Vancouver, Bruges, Zürich, Copenhagen, Leeds, Bristol,The Maltings at Snape He is the first harpsichordist to be made young harpsichord virtuoso. and Edinburgh, as well as several a BBC New Generation Artist (2008– recitals at Wigmore Hall. A frequent 2010) and to win a prize from the Born in Tehran in 1984, Mahan studied commentator on BBC radio and Borletti-Buitoni Trust, a charitable trust in the United States and Milan before television and a contributor to various established in 2002 to assist classical completing his studies in Prague. music magazines and publications, instrumentalists, ensembles and singers incest and matricide in Mahan works to take the harpsichord in their early 20s and 30s to further He made his BBC Proms debut in 2011 beyond the realm of early music into develop their international careers. with the first ever solo harpsichord mainstream halls and series. recital in Proms history, and returned in 2012 directing his own orchestration Mahan was shortlisted in the of Bach’s The Art of for the instrumentalist category at the 2014 ancient Rome.’ Academy of Ancient Music. The latter Royal Philharmonic Society Awards performance was one of The Observer’s and was nominated Gramophone ‘Artist ‘Top Ten of Classical Music 2012’. of the Year’. His recording of CPE Bach’s Württemberg Sonatas (1744) READ ON 17> Brisbane Baroque presents the Australian premiere of the Handel Festspiele, Göttingen production of AGRIPPINA AN OPERA IN THREE ACTS BY TO A LIBRETTO BY CARDINAL VINCENZO GRIMANI

FRIDAY 8 APRIL, THURSDAY 14 APRIL, SATURDAY 16 APRIL 7:00PM SUNDAY 10 APRIL 1:00PM ULRIKE SCHNEIDER AS AGRIPPINA CONSERVATORIUM THEATRE HANDEL FESTSPIELE, GÖTTINGEN 2015

BRISBANE BAROQUE 2016 _____ Handel’s music, with its vibrant colour, extraordinary beauty and emotional depth, speaks to our innermost selves. Period and place have no stranglehold on it. Its inherent qualities have transcended the audience for which it was written and leap the – boundaries of time, a continuing legacy to future generations. AGRIPPINA WHO’S WHO?

Ulrike Schneider Carlo Vistoli Russell Harcourt Mezzo Soprano, Countertenor, Countertenor, Agrippina Ottone Nerone

João Fernandes Owen Willetts Ross Ramgobin Ronaldo Steiner ‘Laurence Dale’s staging Following the phenomenal success Scheming, manipulative wife of one Bass Baritone, Countertenor, Baritone, Baritone, of 2015’s multiple Helpmann emperor, sister of another, mother Claudio Narcisco Pallante Lesbo of Handel’s salacious Award-winning production of of a third and (if rumours are true) opera is constantly Faramondo, Brisbane Baroque is the incestuous lover of the latter proud to present another stunning two, Agrippina dominated Roman engaging and consistently international production from the imperial politics as no other woman well made …it succeeds famous Göttingen Handel Festival. before her had dared to attempt. not least because of its Composed in 1709 when Handel Here was a tale ripe with audience simplicity.’ was just 24 years of age, Agrippina appeal. Some ten , Financial Times, London was one of his earliest operas and including Porpora, Graun and one of his biggest successes. Telemann, set operas on the Agrippina theme but the finest of The opera premiered in Venice and these was that of the young Handel. enjoyed twenty-seven successive It won for him fame not only in Italy, performances, an extraordinarily where he became known as il caro long run at that time. Though not Sassone, the dear Saxon, but also one of Handel’s better-known works, in England, whence, in the following Agrippina is a telling example of year, he was lured to become one the maestro’s openly dramatic and that country’s greatest and most Erin Helyard Laurence Dale Tom Schenk Robby Duiveman realistic style. revered composers. Conductor Director Set Designer Costume Designer Italian audience of the 17th and While the libretto plays fast and 18th centuries were fascinated loose with history, it is better than by tales of ancient Rome which, most Handel had to work with. It in many cases, paralleled sustains the drama and helps move contemporary political intrigues, the show along at a cracking pace. and the history of Julia Agrippina And the music is marvellous. BRISBANE BAROQUE 2016 the Younger is a prime example. UNDER THE ALL-DAY ROTUNDA MUSIC IN BRISBANE CITY HALL

BRISBANE BAROQUE 2015 CITY HALL SERIES x x @ 5QUEENSLAND’S5 GOT TALENT...5 5 ...and to prove it, Brisbane Baroque’s wildly popular 5 x 5 x 5 @ 5 series for 2016 is dedicated solely to showcasing the talents of an 1. 2. 3. 4. 5. SUNDAY 10 APRIL @ 5PM MONDAY 11 APRIL @ 5PM TUESDAY 12 APRIL @ 5PM WEDNESDAY 13 APRIL @ 5PM THURSDAY 11 APRIL @ 5PM impressive group of young Queensland artists. ENSEMBLE B A BRIDGE FROM BAROQUE REEDS BACH VIA TELEMANN AND THE BAROQUE BUSONI LECLAIR Currently with the Melbourne The Orava Quartet was the Brisbane-born oboist 2016 marks the sesquicentenary Glenn Christensen was born Conservatorium, violinist and revelation of the 2015 Stephanie Dixon and her fellow of the birth of the great Italian in Mackay and studied at the musicologist David Irving grew Australian Chamber Music wind players from the musician Ferruccio Busoni. Queensland Conservatorium. Five recitals of up on the Gold Coast, studied Festival in Townsville. As the Australian National Music Composer, pianist, conductor, At age 22 he led the at the Queensland music critic for The Australian Academy perform music that editor, writer, and teacher, few Queensland Symphony Conservatorium. He has made newspaper wrote, “barely might have been heard in the musicians have been as Orchestra for the Bolshoi Five Queensland soloists and ensembles a special study of the baroque whelped… in their sharp suits gilded salons of any of dozens prodigiously gifted as he. Ballet season at QPAC under music of France and Spain. and designer mop-tops the of princely courts throughout the direction of Russian four look like a boy band but Germany’s during the 18th Busoni won early fame as a Maestro Pavel Sorokin. Five PM Sunday to Thursday Ensemble B will perform music play with the intensity of their century. piano virtuoso, enrapturing by Jean-Philippe Rameau, mentors, the Takács Quartet. crowds with his cool brilliance Glenn has toured regional Francois Couperin and Joseph Deadly serious in artistic The composers are three but today he is celebrated as Queensland with the QSO Five dollars admission at the door* Boismortier. purpose, their jaw-dropping whose work was greatly the arranger for piano of many and currently plays with the take on Mendelssohn’s String favoured by musically inclined of the better-known organ Australian Chamber Orchestra Quartet in F minor, Op 80, had emperors, electors and works by Johann Sebastian throughout Australia and on audience members four times cultivated courtiers, the great Bach. Known as the Bach- their overseas tours. In this their age hooting and hollering Johan Sebastian Bach, his Busoni transcriptions, these recital he plays solo works for at what is, in terms of the contemporary Georg Philipp keyboard masterpieces are violin by Johann Sebastian future of Australian chamber Telemann, and the somewhat played by the fine young Bach. music, the real deal.” less well-known Czech, Jan Brisbane-born pianist Adam Dismas Zelenka, whose McMillan who is currently Caroline Hopson is also a Currently Quartet in Residence elegant compositions are studying at the Australian graduate of Queensland with the Camerata of St John’s, enjoying a long-overdue revival. National Academy of Music. Conservatorium where she is these remarkable musicians Adam began playing when he completing her Master’s make their Brisbane Baroque was four, and by age 16, he degree. She has performed debut in a program that marks had performed the Bach as concertmaster of the the genesis of the string in D minor in the Conservatorium Symphony, quartet in the late baroque Weill Recital Hall at Carnegie Chamber and Opera period and heralds its progress Hall, as well as in China and Orchestra. During her time at to full-blown classicism. The Estonia. During his school university, she became a program includes works by the years he received 1st prize in member of the Latrobe String 14 year old Mozart, by the Queensland Piano Quartet and travelled with Boccherini and by that genius Competition. them to the Australian of the sting quartet, Josef Festival of Chamber Music. Haydn. She joins Glenn in duets by * THIS IS A NON-TICKETED EVENT AND NUMBERS ARE STRICTLY LIMITED. baroque composers Georg ADMISSION IS ON A FIRST-COME BASIS AND CASH ONLY. DOORS OPEN AT 4:30PM. Philipp Telemann and Jean-Marie Leclair. ing rthur or THE BRITISH WORTHY A orK The British Worthy Semi-opera by to an original text by JOHN DRYDEN Adapted by TERENCE CLARKE Directed by MARK GAAL with chorus, soloists and members of Orchestra of the Antipodes conducted by BRETT WEYMARK

Purcell described this work, part masque, part historic drama, part music theatre, as a ‘semi-opera’. As such, it presents a challenge to a modern director as the narrative is fragmented, action halting and at times confusing.

The composer endowed Dryden’s wayward libretto with some of his most sublime music, and in this semi-staged version for Brisbane Baroque, music has primacy, the narrative edited to a simple linking text descriptive of the action.

Ostensibly a chronicle of conflict between Britons and Saxons, it is essentially a shameless hymn to England’s greatness and to one of its legendary historical figures.

Stirring choruses, sparkling solos and delicious incidental music combine to make King Arthur a memorable musical epic with the widest possible appeal.

In this specially commissioned edition with words by Terence Clarke and staging by Mark Gaal, distinguished international and local soloists including Greta Bradman, Jacqueline Porter, Nicholas Scott, Brenton Spiteri, David Greco and Samuel Piper, the Brisbane Baroque

Chorus and members of the Orchestra of BY MARK WAY DRAWING KING ARTHUR , PENCIL AND WATERCOLOUR the Antipodes are directed by one of Australia’s foremost conductors and chorus masters, Brett Weymark, Music Director of the Sydney Philharmonia Choirs.

MONDAY 11 APRIL 7:30PM BRISBANE CITY HALL EVENING RECITALS TUESDAY 12 APRIL @ 7:30PM WEDNESDAY 13 APRIL @ 7:30PM ALL STOPS BRISBANE CITY HALL BRISBANE CITY HALL THE ART OF THE LATITUDE 37 COUNTERTENOR ROYAL CONSORT

One of the most remarkable – and least predictable! - developments in Admired Australian early music ensemble Latitude 37 has been an classical music during the late 20th century was the emergence of a integral part of our baroque music festival since its founding. fresh new voice type – the countertenor. At the forefront of the countertenor revival in the late 1950’s was Alfred Deller whose Known for adventurous and imaginative programming, the core eponymous Consort did much to fuel interest in rarely-heard 17th and ensemble of Julia Fredersdorff, Laura Vaughan and Donald Nicolson 18th century repertoire. have expanded their numbers for this unique program of English OUT music composed during the time of the Civil War that pitted Oliver In spearheading what might be called the Countertenor Revolution, Cromwell against King Charles I. Guest performers include violinist Four FREE lunchtime Deller also served as a role model for aspiring young singers so that Matthew Greco, lutenist Josep Martí Duran, and tenor Brenton Spiteri. today, countertenors are much in demand in many forms of classical recitals featuring music especially, but not exclusively, baroque opera where many roles Works by the great Henry Purcell and are coupled with originally written for castrati are now performed by countertenors. compositions by lesser-known but equally skilled composers such as , , John Jenkins and Christopher Gibbons. Brisbane’s finest Brisbane Baroque is privileged to host three internationally acclaimed young countertenors – Carlo Vistoli from Italy, Owen Willets from the organists. UK and Australian Russell Harcourt. In this exclusive recital they highlight music of composers who wrote for the castrati at the height On the final day of this series in Brisbane of their popularity. Arias from operas by Porpora, Leo, Vinci, Hasse, Vivaldi and others will showcase the unique and thrilling qualities of Baroque 2015, some twelve hundred and the high baroque male voice. fifty people turned out to thrill to the apocalyptic rumble of the mighty City Hall organ at full throttle.

Once again you can enjoy this inspiring experience when eminent Brisbane organist Christopher Wrench and three colleagues pull out all stops in our specially curated 2016 encore series of FREE CONCERTS.

Joining Christopher are Dr. Phillip Gearing, Director of Music at St. Mary’s, Kangaroo Point, and Andrej Kouznetzov, organist at St John’s Cathedral, together with James Goldrick, Assistant Director of Music of St. Stephen’s Cathedral in Brisbane.

MONDAY 11 APRIL - THURSDAY 14 APRIL 1:00PM BRISBANE CITY HALL From Day One, Brisbane Baroque has been committed to seeking, securing and showcasing some prodigiously talented young Australian performers. Herewith a ‘yearbook’ page of thirty artists, 30 UNDER 30 all under thirty, performing in Brisbane Baroque 2016.

Anthony Abouhamad Tiana Angus Jacob Ballard Martin Cardell Elizabeth Lawrence Jess Maclean Adam McMillan John Myatt

Thomas Chawner Glenn Christensen Peter Clark David Dalseno Blake Petersen Samuel Piper Georgina Roberts Dhanika Rubasinghe

Stephanie Dixon Isabella Gerometta Matthew Greco Christopher Haycroft Nicholas Scott Dani Settle Simone Slattery Brenton Spiteri

...and let’s not forget Georg Frideric Handel who was 24 when he wrote Agrippina. Caroline Hopson Georgia Mae Hahn Daniel Kowalik Karol Kowalik Allana Wales Nathan Walton Georg Handel PUBLIC NOT A TICKETED EVENT TALKS A series of fascinating and informative lunchtime talks designed to enhance your enjoyment of our 2016 performances.

1. 2. 3. 4. 5. MONDAY 11 APRIL @ 11AM TUESDAY 12 APRIL @ 11AM WEDNESDAY 13 APRIL @ 11AM THURSDAY 14 APRIL @ 11AM FRIDAY 15 APRIL @ 11AM VIVICA GENAUX HANDEL FOR SPACES OF COMING OF AGE THE IN CONVERSATION WITH MODERN AUDIENCES SPECTACLE IN ITALY CASTRATI CHRISTOPHER LAWRENCE Few opera singers move easily MUSIC AND ARCHITECTURE HANDEL ON THE GRAND TOUR ROCK STARS OF THE BAROQUE Celebrated for a host of from the role of performer to OF THE BAROQUE critically acclaimed recordings that of director and conductor, Dr Sing d’Arcy is an In 1703, while performing as The cult of celebrity is hardly and appearances world-wide but Laurence Dale is an architectural historian a violinist with the Hamburg a modern phenomenon. In with the most important early exception. specialising in the Opera, Handel met the son the baroque period, music ensembles, Vivica He studied singing in London relationship between music and heir to the Grand Duke of centuries before recording, Genaux makes her Australian and Salzburg, sang leading and the architectural spaces Tuscany, Prince Ferdinando television and social media, debut with Brisbane Baroque lyric tenor roles at in which it is performed. He de Medici, who invited him to an elite group of performers 2016. Glyndebourne, Vienna, Berlin graduated from the travel to Italy, an invitation the known as the castrati and Paris and was the most University of Sydney, later 18-year old Handel accepted achieved international fame In this special event she talks admired Tamino of his day in returning to complete his with alacrity. on the scale of today’s rock doctoral studies on the stars. about her career and favourite Mozart’s Magic Flute. Another At that time Italy was the repertoire with Christopher career highlight was his Don architectural history of Spain and its realms during the preeminent hub of musical The history of this exotic Lawrence, genial host of ABC José in Peter Brook’s legendary activity on the continent and group of performers, mostly Classic FM’s morning program production of La Tragédie de 17th and 18th centuries. In 2009 he was a visiting Handel visited Florence, Italian, has long fascinated and one of Australia’s Carmen, first in Paris and later Rome, Naples and Venice, Brisbane Baroque’s Music favourite broadcasters. in New York. scholar in the Art History Department of the University meeting many of the leading Director, Dr. Erin Helyard Brook inspired him to turn to of Seville. He complements composers of the day, who, in addition to being an direction and later he his research and teaching especially internationally respected embraced the role of into the built environment with whom he studied. performer and conductor is conductor as well, working in with an active engagement in also an expert on the history Handel also met Prince Ernst of early music. France, Monte Carlo, South the world of early music, August of Hanover, whose Africa and Switzerland. especially that of keyboard brother later became King In this free talk he traces the Lauded by critics and instruments. He has held George I of England. An dizzying rise of the popularity audiences alike for his staging organist positions both in invitation to Hanover and to of the male soprano in the of Agrippina, Laurence Australia as well as in Spain. London followed and the rest baroque period and the rise speaks on the director’s role In this talk he describes the is musical history. in popularity of the 20th key performance spaces of century equivalent, the and the future of this Noted Australian musicologist centuries-old art form that Dr. the baroque – Cathedrals, countertenor. MONDAY 11 - FRIDAY 15 APRIL 11:00AM Palaces and Opera Houses Dr. Robert Gibson, DPhil Johnson called an ‘exotic and (Oxon), follows Handel on his irrational entertainment’. and public spaces such as CREMORNE THEATRE, QPAC squares, gardens and rivers. personal Grand Tour, a musical coming-of-age. BRISBANE BAROQUE 2016 FESTIVAL PLANNER CONSERVATORIUM CONCERT HALL BRISBANE CITY CREMORNE THEATRE ST BRIGID’S CHURCH ST JOHN’S CATHEDRAL THEATRE QPAC HALL Friday 8 April 7:00pm Agrippina Saturday 9 April 7:30pm BACH - Music in the Castle of Heaven Sunday 10 April 1:00pm Agrippina 5:00pm Ensemble B

7:30pm Viva! Vivica & Vivaldi Monday 11 April 11:00am Vivica Genaux in conversation with Christopher Lawrence 1:00pm All Stops Out 5:00pm A Bridge from the Baroque 7:30pm King Arthur Tuesday 12 April 11:00am Free Publlic Talk: Handel for Modern Audiences 1:00pm All Stops Out 5:00pm Baroque Reeds 7:30pm The Art of the Countertenor Wednesday 13 April 11:00am Free Public Talk: Spaces of Spectacle 1:00pm All Stops Out 5:00pm Bach via Busoni 7:00pm The Red Priest at The Red Church at Red Hill 7:30pm Latitude 37 Royal Consort Thurday 14 April 11:00am Free Public Talk: Coming of Age in Italy 1:00pm All Stops Out 5:00pm Telemann and Leclair 7:00pm Agrippina 7:30pm Mahan Esfahani Friday 15 April 11:00am Free Public Talk: The Castrati -Rock Stars of the Baroque 7:30pm Women Of The Pietá Saturday 16 April 7:00pm Agrippina BOOK TICKETS AT BRISBANEBAROQUE.COM.AU Every effort has been made to ensure the contents of this brochure are correct at the time of printing. Brisbane Baroque reserves the right to alter the program, dates, times, and ticket prices where and when necessary and without notice. 35 BRISBANE BAROQUE. COM.AU