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Home , Alcyone (opera), Mark Podwal, Nathan Berg, Zoroastre

Brooklyn Academy of Music 1998 Spring Season

Mark Podwal, Shakespeare, from the series BAMscapes, 1997, gouache and acrylic on paper, 8.5' x 1 1" Les Arts Florissants PHILIP MORRIS BAM 1998 Spring Season is sponsored by CO MP ANIES INC

BAM 1997- 98 Season Spring Season supporters Additional support: France Telecom North sponsored by The Andrew W. Mellon Foundation America, Fribourg Foundation, Inc. and the The Fan Fox and Leslie R. Samuels Cultural Services of the French Embassy in PH I LIP M 0 R R I S Foundation, Inc. New York C 0 M P A N IE S I J\1 C. The Norman & Rosita Winston Years of Arts Support Foundation, Inc. Les Arts Florissants is funded by the French The Harkness Foundation for Dance Ministry of Culture, the Town of Caen and BAM/RSC gala sponsored by The Howard Gilman Foundation the Conseil Regional de Basse-Normandie.

H I E The Robert W. Wilson Foundation Inc. Pechiney has sponsored Les Arts Florissants NE.W YOitKEit The Gladys Krieble Delmas Foundation since 1990. The lsak and Rose Weinman Foundation, Inc. The Joyce Mertz-Gilmore Foundation La Societa deii' Buffa Tina Brown, Chairman Francena T. Harrison Foundation Trust Italian corporate sponsor RSC Season at BAM The Shubert Foundation, Inc. Pirelli AT&T American corporate sponsor The Harold and Mimi Steinberg The Dime Savings Bank of New York, FSB Official hotel Charitable Trust The Billy Rose Foundation, Inc. Cheek By Jowl Nl\V YOR':.\\am~tt. Wendy vanden Heuvel Additional support Evian European American Bank Brooklyn Delegation of the New York City Official airline Council Royal National Theatre Brooklyn Borough President Howard Golden Othello student performances by special BRITISH AIRWAYS 0:. New York City Department of Cultural Affairs arrangement with the National Actors National Endowment for the Arts Theater, Tony Randall, artistic director New York State Council on the Arts RSC Season at BAM and the fa/leming endcmment funds and gifts Leadership support The Peter Jay Sharp Fund for Opera The Peter Jay Sharp Foundation and Theater The Andrew W. Mellon Foundation Sponsors and supporters Michael Bancroft Goth Endowed Annual Visa U.S.A., Inc., Forest City Ratner Performance Fund Companies, Metropolitan Life Foundation, The Charles and Valerie Diker Dance Morgan Stanley, Dean Witter, The Booth Ferris Endowment Fund Foundation, The British Council, Arts Council The Marion Petschek Smith Fund for of England, James and Mary Evans, Conrad BAM Prefers I VISA I Choreographers and Sarah Meyer Ill, Philip and Nina Pillsbury, MetroT ech Downtown Fund The Laura Pels Foundation & the RSC Patrons

Leadership support for BAM French Programs Official radio sponsor The Florence Gould Foundation Bloomberg News Radio AM 1130

BAM Theater sponsor RSC Education and Humanities supporters New York Council for the Humanities, a state TIMEWAR ER program of the NEH, The Gladys Krieble Your tax dollars make Delmas Foundation, The New York Times BAM programs possible Vaganova Ballet Academy major support Company Foundation, Simon & Schuster, through funding from The Trust for Mutual Understanding, The Astor Foundation Rudolf Nureyev Dance Foundation , CEC International Partners, Anonymous Principal sponsor of the RSC: Allied Domecq

Les Arts Florissants Ticket Assistance Program sponsored by ...... Corporate sponsors The John Nuveen Company ~ Credit Lyonnais NYSCA Major support: The Eleanor Naylor Dana Additional support Charitable Trust; The American Friends of Brooklyn Union and Michael Tuch Foundation Les Arts Florissants, Anthony T. Dean , Arthur A. Hartman & Harvey Lichtenstein, Baldwin is the official piano of BAM & BPO co-chairmen; Tony and Lawrie Dean

Ma1k Podwttl Mark Podwal was born in Brooklyn, not far from BAM. His work is in the Greek Tragedy. 1997 from the seues BAM\t,t/X'S collections of the Metropolitan Museum of Art, the Library of Congress and gouac;ho and acrylic on paper the National Gallery in Prague. In 1989, he received The Society of ~mage size 8 5• X II Newspaper Design Award of Excellence for a drawing that appeared on the PdPI:!r !lfJO 16~ x 20" courtesy of FOfllm Gall('fy, NYC Op-Ed page of The New York Times, where he has been published for more than twenty-five years. In 1993, Podwal was named Chevalier de I'Ordre des ror BAMart information contact Robt'!rl Bang!Oia Arts et des Lettres by the French Government, and in 1996, he was promoted a1 718.636.4111 ex1 380 to the rank of Officier.

He is the au thor and illustra tor of seven books, including Freud's da Vinci, The Decline and Fall of the American Empire and the illustrator of Francine Prose's Dybbuk and The Angel's Mistake . His collaborations with include an illustrated limited-edition of Wiesel 's collected works and A Passover . In addi tion, Podwal has designed a Congressional Gold Meda l, an Aubusson tapestry for Temp le Emanu-El and animation for public television. An exhibition of his work is planned for 1999 at the Speed Art Museum in Louisville, Kentucky.

This series of eight gouache and acrylic BAMscapes was inspired by settings of several BAM 1998 Spring Season productions. Mark Podwal's drawings and watercolors are represented by Forum Gallery, New York.

Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board

Harvey Lichtenstein President and Executive Producer

presents

Zoroastre 17 56 version Jean-Philippe Rameau

Running time: BAM Opera House approximately two March 28, 1998 at 7:30pm hours and forty-five March 29 at 3pm minutes. There will be one intermission. Li bretto Louis de Cahusac

Featuring the choir and orchestra of Les Arts Florissants Conductor William Christie

Amelite Gaelle Mechaly Erini ce Anna-Maria Panzarella soprano Cephie Stephanie Revidat soprano Zo roastre Jean-Paul Fouchecourt tenor Abramane ba ss Zopire Matthieu Lecroart Narbanor Franifois Bazola bass Oromases Jer6me Correas bass La Vengeance Marcos Pujol bass Arimanc Jer6me Correas bass

English titles Francis Rizzo

Leadership support has been provided by The Florence Gould Foundation. ~

Corporate sponsor: NWEEN Additional sponsorship: Credit Lyonnais

Major support has IX'en provrded by The Cleanor Naylor Dana CIJantable Trus t. The Fan rox and Leslie R Samuels Foundation, Inc. T/Je Andrew W. Mellon Founda/lon, The Peter Jay Sharp Fu()(/ 101 Opera and Theater. tony and Lawrie Dean and The All/l'rican friends of Les Arts Florissants. Les Arts Flonssants is funded by the French Ministry of Culture, the Town of Caen and the Conseil Rt!Rional de Basse-Normand1e. Pcchmey has sponsored Les Arts Florissants since 1990. Support for the openmg lll[!hl has IX'cn provided by the Cultural Services of the French Embassy m New York, LU Biscuits and Champagne Mumm. C( Orchestra Violin I Viola Oboe Myriam Gevers Galina Zinchenko Michel Henry (principal) Marcial Moreiras Pier Luigi Fabretti Jean-Paul Burgos Michel Renard Geoffrey Burgess Sophie Gevers- Jean- Luc Thonnerieux Machika Ueno Demoures Anne Weber Catherine Girard Bassoon Daria Luisi Basse de Violon Claude Wassmer Martha Moore & Cello Rhoda-Mary Patrick Susanne Scholz David Simpson* Eckhard Lenzing Ruth Weber Elena Andreyev Jun Harada George Wi llms Emmanuel Ba lssa Paul Carlioz Horn Violin II Brigitte Crepin-Maillard Denis Malon Simon Heyerick Alix Verzier Gilles Rambach Bernadette Charbonnier Roberto Crisafulli Basse de Viole Harpsichord Mihoko Kimura Anne-Marie Lasla* Emmanuelle Ha'lm* Valerie Mascia Michele Sauve Double Bass Percussion Isabel Serrano Jonathan Cable* Marie-Ange Petit Richard Myron *Continuo Flute Serge Sa'itta Charles Zebley

Choir Soprano Haute-Contre Bass Solange Morga Jean-Xavier Combarieu Vincent Sillier Nicole Dubrovitch Jean-Franc;ois Lombard Bertrand Bontoux Marie-Louise Duthoit Nicolas Maire Fabrice Chomienne Anne-Marie Jacquin Bruno Renhold Laurent Collobert Anne Mopin Andrew Sinclair Pierre Corbel Brigitte Pelote Jean Franc;ois Gay Anne Pichard Tenor Luc Coadou Jeannette Wilson-Best Alain Brumeau Michael Laughlin-Smith Choirmaster Jean-Marie Puissant Franc;ois Bazola Jean-Yves Ravoux Laurent Slaars Harpsichordist Beatrice Martin

BAM Staff Surtitle preparation Surti tle cue caller BAMbi// Who's Who Michael Panayos David Rebhune translations Dawn M. Cornelio

Photo of the ensemble at St. Paul's Cathedral in London by Michel StaiJO

Though produced with more than usual magni fi­ tious sorce rer Abramane, servant of Arimane, cence and a cast including Jelyotte (Zoroastre) , Spi rit of Darkness. Abramane, characterized as Chasse (Abramanel and Fel (Amelite), Zoroastre 'inventor of the cult of fal se gods,' was created had initially only limited success. Despite twen­ by Cahusac to counterbalance the figure of ty-five performances it proved far less popular Zoroastre, who was believed to have instituted a than Mondonville's Le carnavat du Parnasse, priestly caste- the Magi and to have discov­ staged during the same period. By May 1752 ered white magic. This dualist theme allowed Rameau and librettist Louis de Cahusac had Cahusac to introduce masonic elemen ts (he was begun an extensive reworking affecting the secretary to the Grand Master of the French whole character of the work. Th is version, first Grande Loge), notably in the worship of the God given on January 19, 1756, was much more of Light, the messianic mission, talismans and successful. It was revived with minor modifica­ the temple decor of act five; in 1756 further tions on January 26, 1770 to inaugurate th e symbols were introduced, together with an initi­ Opera's Palais Royal theater, rebuilt after the fire ation ceremony. of 1763. The earlier version was staged at Dresden on January 17, 1752 in an Itali an With Zoroastre the traditional French prologue translation by Casanova, music by Johann was abandoned. The overture, designed to Adam replacing most of what Rameau wrote. replace it, is the first in which Ramea u (antici­ pating Gluck) prepared the audience for the As Cahusac pointed out, Zoroastre represents a drama as a whole: its three sections depict, in delibera te break with the classical legend and turn, Abramane's barbarous ru le, the renewal of medieval romance that formed the conven tional hope and the rejoicing of the people free from material of th e tragedie en musique. Its theme, oppression. derived from Persian sources, is the struggle between Good and Evil- between, on the one In the 1756 version, acts one and four hand, the grea t religious reformer Zoroastre, rep­ remained essentially unchanged from the origi­ resen tative of Orosmade, the Supreme Being nal; acts two, three and five were revised. and God of Ligh t, and, on the other, an ambi- \1- JEWELS OF THE RO ovs Treasures of The Russian Imperial Court March 20-July 5 teml support by tlw Iris arul ll. Gemld Cmrtor Formdation . Mlljor support provided lly tlw lntlt•pimtlcnce Cll1111111111i1y Foundation of l11tlepemlence S11viugs Bau/1 lind by KeySp1m f:uergy Corpomliou.

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The final opportunity in the U.S. to see this magnificent collection of 200 opulent objects: the spectacular Russian crown jewels, jewel encrusted religious objects, imperial portraits, court costumes and other treasures. limed, dated tickets. Adults. seniors and students: $10. Children under twelve: $6. Museum members only, $10 V.I.P. tickets good any time. Members may purchase a limited supply of tickets at $8 before March 20 only at Museum admissions desk. Audio tour $4. Group tours available (718-638-5000, ext 234). 200 Eastern Pkwy at Prospect Park. Exhibition presented by the Russian Organizing Committee and the American-Russian Cultural Cooperation Foundation. National support by Lazare Kaplan International Inc., The Starr Foundation, and Conoco, Inc. Brooldyn Museum of Art )..> Act I to perform thei r devotions to the Supreme Being. Devastated countryside near the city of Bactra They si ng an ethereal Hymn to the Sun ("0 Abramane has exploited the Bactrian king's lumiere vive et pure") and celebrate with dances untimely death to cause Zoroastre's exile. He nev­ the return of light. Zoroastre and Amelite are about ertheless yearns for the Bactrian crown. In "Non, to take marriage vows when the skies darken and je ne puis assez punir," an air with two obbligato Abramane descends in a blazing chariot. As the bassoons, the sorcerer dreams of revenge. He people scatter, Zoroastre summons the Benevolent woos Ernice who, though scorning his advances, Spi rits and hastens in pursuit of Abramane. The accepts Abramane's offer of help in seizing power: spiri ts bear Amelite away unconscious as fire she promises to share the throne with him and engulfs the city. thus take revenge on Zoroastre for spurning her. Abramane gives her half his wand, conferring on Act IV her a power equal to his own. As Amelite grieves A vault in Arimane's temple for Zoroastre, her companions try to distract her. Beside a bloodstained altar, Abramane expresses Their dances (which include a reworking of the his agitation ("Cruels tyrans qui regnez dans mon harpsichord piece "Les tendres plaintes") are inter­ coeur," a monologue characterized by agitated syn­ rupted by subterranean noises. Ernice appears and copations). News arrives that the forces of dark­ calls tormenting spirits, who drag Amelite away. ness have been humiliated, whereupon Ernice describes the odious spectacle of the happy lovers. Act II, scene one Abramane begins an occult ceremony ("Supr€!me Oromases's palace auteur des maux"). While priests perform dances Zoroastre is bemoaning his separation from of expiation, Abramane undertakes a sacrifice. Amelite when Oromases appears. Describing her Encouraged by the auguries, he summons evil plight, Oromases orders Zoroastre to rescue her; spiri ts. Led by Hate, Jealousy, Despair and in doing so, he will rid the world of evil. To pre­ Vengeance, they perform a ballet figure, during pare him for his mission, Elemental Spirits per­ which Vengea nce is presented with serpents and form incantations. Zoroastre is elevated to a a bloodstained dagger. When a statue of Zoroastre higher state of awareness ("Ou suis-je? Un nou­ appears on the altar, the priests cast spells and it veau jour m'eclaire") and collapses. To complete vanishes in flames. Abramane takes this as a good the incantation he receives the Book of Life. omen. The voice of Arimane is heard summoning them to arms. During a series of powerful airs and Act II, scene two choruses, the priests prepare for battle. Inside the Bactrian kings' stronghold As demons torment Amelite, Ern ice demands that Act V, scene one she renounce the throne. The gates burst open The Bactrians' coronation site and Zoroastre appears; Ernice departs, threatening Remorseful, Erinice warns Zoroastre of Abramane's vengeance. Reunited, the lovers reaffirm their impending onslaught. When Zoroastre is unmoved love. Zoroastre, recalling his mission, commands by her pleas, she departs dejectedly. News arrives the walls to collapse, and a city square is revealed. that Amelite has been abd ucted during her coro­ He presents Amelite to the ci ti 7ens, who celebrate nation. Abramane, on a cloud of flame, com mands deliverance of the rightful heir. Zoroastre to su rrender. The cloud divides to reveal Amelite in chains. But Zoroastre appeals to the Act Ill heavens, whereupon thunderbolts descend and the Outside the city walls earth swallows Abramane and his supporters. Before daybreak, Abramane and Ernice quarrel. Fearing she might jeopardize their cause, Act V, scene two Abramane revokes her powers and envelops her in The first temple erected to Light a cloud . He broods on his plans (in "Osons achev­ Oromases on a brilliant cloud and surrounded by er," bassoons darkly sustaining against urgently Elemen tal Spirits, presents the rescued Amelite. syncopated strings) and prepa res an ambush. Amid general rejoicing, he ordains the coronation At dawn, Zoroastre, Amelite and the people arrive of the happy couple. The 1756 version is more co nventional in placing The designations of the works Rameau wrote for greater emphasis on Zoroastre's love for Amelite, the theater vary considerably from one another: undermining his religious stature. As if aware of Tragedies lyriques (e.g., Hippolyle et Aricie or this, Cahusac elevates the hero's mission from the Zoroastre), Opera-ballets (or Actes de Ballet)(e.g., liberation of Bactria to the more momentous one Pygmalion), Comedies-ballets (e.g., Pia tee and of freeing the whole world from evil. More stress ) and Ballots-Mroiques. is laid on Zoroastre's prepa ration. The initiation These genres differ less from one another than ceremony on act two contains some of Ram eau's the names suggest: in accordance with old French most ecstatic, spi ritual ly eleva ted music; so too tradition, for example, the ballet also played an does the mystical sun worship of act three, with important role in the tragedies lyriques, which are its serene Hymn to the Light. Moreover, Oromases' closest to what we consider to be "" today. other-worldly character is conveyed (like Christ in From Lu lly's time, French works for thea ter were Bach's St. Matthew Passion) by the halo of sus­ always show-pieces in which spectacular effects tained double-stopped strings that surround his and surprising artifices were very much preferred. utterances. The increased emphasis on Zoroastre's One enjoyed reveling in opulent sets and costumes rel igious observance now creates a better foil for and numerous scenery changes. Abramane's colossal occult sacrifice; this occupies virtually the whole of act four and works itself Of the five extant complete tragedies lyriques by gradually into a frenzy culminating in a series of Rameau, Zoroastre is the fou rth . The others are astonishingly forceful ensembles and choruses. ( 1733, Rameau 's theatrical debut), (1737), (1739) Although Charles Bordes organized a concert and Abaris, ou les Boreades (1764, written in performance at the Schola Cantorium, Paris, in the year of the composer's death; he died while November 1903, Zoroastre had to wait until this piece was being rehearsed). June 7, 1964 for its first modern staging (at the Paris Opera). Most performances today present The premiere of Rameau's Zoroastro was on th e 1756 version.- Graham Sadler (from December 5, 1749 in the Paris Opera. One who Grove's Dictionary of Music) was present at the performance, Abbe Joseph de Laporte, described it in his Anecdotes drama­ Jean Phillipe Rameau (1 683- 1764) was tiques contenant toutes les pieces de undoubtedly the most important composer of the­ theatres .. .jusqu'en 1775: "The scenery, the the­ ater music in eighteenth centu ry France. He fol­ atrical machines, the lighting, the costumes in the lowed the path established and developed by Lully opera Zoroastre were al l of a style of a magnifi­ and Campra to its end in such a way that it did cence and of a splendor which surpassed even the not seem possible to continue along it after him: most beautiful th ings which one had seen in this it was the highpoint of a style which one could not theater since its founda tion. The architecture of make "even more beautifu l" without destroying it. the fifth act represented a supe rb temple whose It is thus, in any case, that Rameau's ope ra fluted columns were of gold and adorned with an music appears to us after two and a half centuries. Continues after BAMstaff fist 25 Ye~ 7973 - 7998 RE N N ER T o Tran slations and Interpretations BILINGUAL o Instruction in English and in all Foreign Languages (212) 867-8700 2 16 East 45th Street, NYC 10017 http: I /www.rennert.com BREAK THE LANGUAGE BARRIER " AHVTHIVIS Southern·cooktne at Its best by Chef ~orman and the elves Fine wines and liquors Major Credit Ca rds The New York Times • Daily News 1 Block from BAM 63 Lafayette Avenue (at Fulton Street) 718. 243. 0900 Heights Cafe

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BAM 1998 Spring Season February March is sponsored by Moscow Art Theater Cheek by Jowl PHILIP MORRIS COMPANIES INC Three Sisters by Chekhov Much Ado About Nothing Years of Arts Support February 6- 14 by Shakespeare BAM Opera House March 25 April 5 BAM Majestic Theater Brooklyn Philharmonic Orchestra Brooklyn Philharmonic Csfudas! Orchestra February 20 & 21 Sibelius BAM Opera House March 20 & 21 BAM Opera House Vaganova Ballet Academy and stars of the Kirov Ballet Philharmonia Baroque February 25-28 Orchestra BAM Opera House Handel's Heroes: Saul: March 25 Hercules: March 27 BAM Opera House

Les Arts Florissants Zoroastre by Rameau BAM Prefers March 28 & 29 BAM Opera House April May June

Cheek by Jowl Brooklyn Salutes Israel Royal Shakespeare Company Much Ado About Nothing 50th Anniversary Celebration Everyman (anonymous) by Shakespeare Featuring Noa June 2-7 March 25-Apri l 5 May 2 BAM Majestic Theater BAM Majestic Theater BAM Opera House Cymbeline by Shakespeare Royal National Theatre Royal Shakespeare Company June 3- 6 Othello by Shakespeare Hamlet by Shakespeare BAM Opera House April 8- 12 May 21- 30 BAM Majestic Theater BAM Opera House DanceAfrica 1998 June 19-21 Brooklyn Philharmonic Henry VIII by Shakespeare BAM Opera House Orchestra May 26-31 The Damnation of Faust BAM Majestic Theater Mark Morris Dance Group by Berl ioz Dido and Aeneas by Pu rcell Apri l 14 & 17 Krapp's Last Tape by Beckett New Work, music by Harbison BAM Opera House May 27- 29 June 24- 27 BAM Majestic Thea ter BAM Opera House La Societa deii'Opera Buffa Fa lstaff by Salieri April 22- 25 BAM Majestic Theater For more information pick up a brochure in the lobby or call 718. 636. 41 00. The BAM I RSC Gala is May 18. Call 718.636.4174 for details. The Campaign for BAM was Initiated In 1992 to create Brooklyn Phase Two ( 1996- 2000) has combined operating, endowment, Academy of Music's first endowment. Phase One ( 199? 1995) Institutional development and building renovation needs Into one established a $ 12 million nucleus which has provided BAM wllh unified effort. By the year 2000. 1 he Campaign for BAM will a strong financial foundation and supports all BAM operations have raised $ 131 million. The continued expansion of the through annual distributions of interest income. endowment is critical to the success and future of BAM. BAM gratefully acknowledges the generosity and vision of all contributors listed on the followrng pages. Endowment

$1,000,000 and above Bruce C. Ratner Francena T. Harrison Charlotte & Stanley Kriegel Emily I f. fisher The Peter Jay Sharp Fund roundation Trust Jay Kriegel Richard B. Fisher for Opera and Theater Rita J. & Stanley H. Kaplan Albert & Joan Kronick Philip Morris I Next Wave Foundation, Inc. Clem & Claire Labine Forward Fund $100,000 and above Evelyn & Everett Ortner Mr. & Mrs. Edgar A. Lampert Uta Wallace· Reader's Digest Bell Atlantic Republrc National Bank Mr. & Mrs. Eugene H. Luntey Endowment Fund for William I. Campbell Arthur Ross Foundation Scott C. McDonald Community, Educational The Charles and Valerie Dlker Lindsay and Brian Shea Sarah G. Miller and Public Affairs Programs Dance Endowment Fund The lsak and Rose Weinman John Morning The Harkness Foundation Foundation in honor of Jonathan Newcomb $250,000 and above for Dance Madame Ulliana Teruzzi John Michael Powers, Jr. The Bohen Foundation Independence Savings Bank Nancy Reynolds Judith R. & Alan H. Fishman Annie Leibovitz & Studro Additional Contributors & Brian Rushton The Ford Foundation Fund to Leo Burnett, USA Bloomberg News Radio James Q. Riordan Support Collaboralive The Morgan Stanley Judith W. Blumert Robert C. Rosenberg Creat1v1ty Among US Community and Mr. & Mrs. Norman J. Buchan Tile Sllverweed Foundation Art ISIS Educational Fund Mr. & Mrs. Henry The Marion Petschek Smith The llorace W. Goldsmith J.P. Morgan & Co. Incorporated Christensen Ill Fund for Choreographers Foundation Jonathan F.P. & Gerard Conn & Carol Yorke Barbara H. Stanton Michael Bancrolt Goth Diana V.C. Rose Beth Rudin DeWoody Rebecca A. Sullivan Endowed Annual May and Samuel Rudin Family Brendan & Barbara Dugan & Stephen R. Greenwald Performance Fund Foundation Nettie Duskls The Wagner Westreich ramlly Alex lflllman Family Mr. & Mrs. Arne Vennema Ronald rinkelstein Fund Foundation Anonymous Forbes, Inc . Nora Ann Wallace Maxwell Family Fund in Mallory Factor Dr. Lewis M. Wiener Commun1ty Funds, Inc. $50,000 and above William & Mary Greve Charlene Magen Weinstein The Andrew W. Mellon Brooklyn Union Foundation In memory of Stella Weissberg roundalion Robert & Joan Cateil Mr. & Mrs. Richard Hulbert Matthew and Myra Mary and Jim Ottaway, Jr. Kathleen & Neil Chrisman Mr. & Mrs. Sidney Kantor Zuckerbraun and Family In honor of Ruth European American Bank Miriam E. Katowitz Anonymous Blackburne Ottaway & Arthur J. Radin Institutional Development and Building Renovation

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A third series abundance of carbuncles and rubies wh ich shed of performances of Zoroastre took place in 1770, a light like that of the most brilliant and lively fire. after the death of the com poser, when the new The co lumns, which were on bases and topped opera house was opened (the old one bu rned by capitals of a precious metal, supported the down in in 1763). It was naturally based on the arches which were adorned with mosaics, whose 1756 version. At that time the director of the Paris green background was relieved by fields of gold Opera made several cuts and added several sections and silver which presented the eyes with a won­ of his own. The work was also very successful and derful prospect. A dome whose size and height ran for twenty performances. seemed immense formed the sanctuary which was se parated from the rest of the edifice by a golden The Present Version balu strade; and in the middle of the sanctuary Since there is neither an extant complete score there was a magnificent altar on which one could nor extant orchestral material for the original 17 49 see the sacred fi re burni ng. Finally, on both sides version (only a score published by Boivin, an of the temple one perceived superb galleries which orchestral reduction printed in the manner of the were adorned wi th garlands of laurel, of myrtle and time, i.e., without the middle parts) and there are of flowers. It was in this superb temple t11at the two different complete manuscript scores and a incoronation and marriage ceremonies of Zoroastre set of orchestral pa rts for the later 1756 version, took place." we have chosen the 1756 version as it was per­ formed at the beginning of its run (some cuts were The piece did not immediately produce a wholly made during the run, as may be inferred from the positive response--on the one hand Rameau had, second edition of the , which is also from in add ition to his admirers in the audience, two 1756). The text of the libretto used here is also groups of adversaries, the "Lullists" and the lovers taken from the first 1756 edition. of Italian opera, and on the other hand, the libretto by Lou is de Cahusac was so weak from a literary In Rameau's time concert versions of operas were point of view that lampoons were dedicated to the sometimes presented , i.e., performances without poet. The piece, however, was the subject of much scenery (Rameau did so himself, for example, with discussion and the public crowded to see it. This Hippolyte and Aricie). Instrumental movements is confirmed by the following account also taken from an opera (which make up about one-third of from Laporte's Anecdotes dramatiques: "A gen­ an entire "normal" ) were frequen tly tleman went to the fifth performance of Zoroastre joined together as an orchestral suite and per­ and desired a seat in the box in the balcony or formed in this manner; in th is connection it is stalls but was told tha t al l the sea ts were taken. interesting to note that the instrumental pieces are 'That is,' he sa id, 'the most singular and strange numbered from 1 to 30 (whereby numbers 29 thing that I have seen in my entire life. I ca nnot and 30 are from the 1770 version) in the manu­ enter any house in Pa ris without hea ring horri ble script set of parts of the 17 56 version of Zoroastre stories about this opera; and I have come four in the Paris Opera Library. If one compares the scores times in a row without being able to get a seat. " from 1749 and 1756, it becomes evident that In spite of this great interest the piece did not nearly all the orchestral movements in the 1756 remain in the repertory long. Because of this, version already appeared in the one from 1749. Rameau and Cahusac decided to completely revise In 1756 the foll owing new instrumental move­ the work . It was not until January 20, 1756 that ments were added: the Gavottes in E major I E this new version was presented in Paris. The alter­ minor in act one, the Rigaudons in act two, the ations were far-reaching: several characters were Entree des Montagnards and the following Gigue completely cut from the piece, others were added, vive in act three and the Air grave from act four. the second and third acts we re almost new, Three dances from 1749 were no longer used in although some instrumental movements were 1756 (among them the Gavotte en Rondeau in retained; in add ition, some ariettes we re cut or A minor, better known as La Livri from the Pieces replaced and the fifth act was altered considerably. de c/avecin , 1741).-Sigiswa/d Kuijken Th is version was undoubtedly an improvement as William Christie was born in Buffalo, NY, in les Arts Florissants is a voca l and instrumental 1944. He began his musica l studi es with his ensemble founded by William Christie in Paris in mother and went on to study the piano, organ 1979, three centuries after the creation of the work and harpsichord, notably with Ralph Kirkpatrick, by Marc-Antoine Charpentier from which it takes who encouraged him in his predisposition for its name. From the outset, the group has devot­ French music. In 1971, after graduating from ed itself to research into seventeen th and eigh­ Harvard and Yale, he settled in rrance. In 1979 teenth century music, their repertoire being com­ he founded Les Arts Florissa nts, and began posed largely of unedited works, most notably exploring French, Italian and English music of those of Bibliotheq ue Nationale de France in Paris th e seventeenth and eighteenth centuries. This (Charpentier, Campra, Monteclair, Mouline, ensemble performed in small structure as well Lambert, Bouzignac and Rossi). as with soloists, choir and orchestra, and allowed him to contribute to the resurgence of interest in Les Arts Florissants has also earned recognition voca l technique of the seventeenth and eighteenth for its interpretations of operas, notably at the ce nturies. Also interested in theater and French Opera du Rhin with Purcell's Dido and /Eneas, declama tion, Mr. Christie directed a number of Monteverdi's Ballo delle Ingrate (1 983), Rameau's French lyric tragedies with Les Arts Florissants Anacreon and Charpentiers Acteon (1985). with various stage directors and choreogra ph ers. The production of Lully's Atys, staged by Jean In 1982 he became the fi rst American professor Marie Villegier, was voted best opera by rrench at the Conservatoire National Superieur de critics in 1987 and was performed at the Opera Musique de Paris. In this role, he has been Comique in Paris, in Caen, Montpellier, Versailles, involved in a number of student productions, often Florence, Madrid and at BAM to rave reviews. in collaboration wi th other institutions. Jean-Marie Villegier has also staged Le Malade lmaginaire by Moliere I Charpentier (coproduc­ Mr. Christie has made a reappraisa l of th e works tion Theatre du Chatelet, Th eatre de Caen, of Charpentier, and an important part of the Opera de Montpellier 1990), La Fee Urgele by discography of Les Arts Florissants is given to this Duni I Fava rt (directed by Christophe Roussel, composer. He has conducted Medee and David Opera Comique 1991) and Charpentier's Medee & Jonathas, as well as the interl udes from the (coproduction Opera Comique, Theatre de Caen, Malade lmaginaire by Moliere I Charpentier. He Opera du Rhin 1993, also performed in Lisbon has recorded all of Ramea u's harpsichord works and at BAM in 1994) and Rameau's Hippolyte and conducted Anacreon, Les lndes Galantes, and Aricie (coproduction Opera National de Paris, Pygmalion, Nelee & Myrthis, Castor & Pollux, Opera de Nice, Opera de Montpellier, Theatre de Les Grands Motets and Hippolyte et Aricie. Caen, BAM 1996).

Les Arts Florissants have been awarded numerous Les Arts Florissants are also regularly invited by prizes for their recordings, the most recent of which the /\ix-en-Provence festival, for productions are Rameau's Hippolyte et Aricie, Co uperin's such as Purcell's Fairy Queen (staged by A. Noble, Le9ons de Tem2bres and Mondonville's Grands 1989, Grand Prix de Ia Critique), Ramea u's Motets Future recordings will include Rameau's Castor & Pollux (staged by P. L. Pizzi, 1991), Les Fetes d'Hebe and d'lndia's Madrigals. Han del's (staged by R. Carsen, copro­ duction Theatre des Champs-Eiysees, Opera de Mr. Christie is regularly invited to conduct other Montpellier, 1993), Mozart's in orchestras; he made his Glyndebourne debut in 1994 and 1995 (staged by R. Carsen) and 1996 with Handel's with Peter Sellars. Handel's Semele in 1996 (staged by R. Carsen).

In 1993, Mr. Christie was awa rded the presti­ Les Arts Florissants made over forty recordings on gious French Legion d'Honneur and is now a the label. In 1994 Les Arts rrench citizen. Florissants signed an exclusive contract with Erato I Warner Classics. Fran c,; ois Bazola trained at the Universite Franc;ois , Gabriel Garrido, Jean Rabelais and at the Conservatoire National de Souriss, Franck-Emmanule Comte and others, as Region de Tours. He has a double major in musi­ well as affording him the opportunity to participate cology and voice. He holds an Agregation de in numerous concerts of oratorios by Schutz, musique degree, as well as the Lyric Art and Monteverdi, Charpentier, Bach, Handel, Mozart, Vocal Prize. Schuber, Mendelssohn, Britten and more.

He continued his studies at the Conservatoire He has also made numerous recordings for Erato National Superieur in William Christie's class and Harmonia Mundi. where he won the Vocal Baroque Music Interpretation Prize. Since that time, his career Nathan Berg was born in Saskatchewan, Canada. has been intertwined with the activities of Les He began his vocal studies in Canada, then con­ Arts Florissants. tinued in the United Sta tes and Paris, ultimately studying at London's Guildhall School of Music As a singer, he has participated in many concerts and Drama, where he was Vera Rozsa's student. throughout France and abroad in which he has Winner of the Gold Medal for singing at the interpreted works by Lully, Charpentier, Rossi, Guildhall School, he has also won numerous Rameau, Handel, Mozart, Beethoven and others. international competitions. He has also participated in staged productions such as Alys, Les lndes Galantes, Castor et Pollux, Nathan has performed in concerts in many of the Medee, The Fairy Queen, The Magic Flute and most prestigious musical venues (Pollock House, King Arthur, which led him to New York, Lisbon, Blackheath Concert Halls, Wigmore Hall, Harrogate London, Caen, Aix-en-Provence, Paris, Versailles, International Festival, Three Choirs Festival). He Vienne, Nice and Montreux. has worked with such masters as William Christie, Kurt Masu r, Sir Colin Davis, Philippe Herreweghe, For th e past four years, he has been William , Rene Jacobs and Esa-Pekka Christie's assistant as choirmaster for Les Arts Salonen in a repertoire ranging from Bach's and Florissants, working also on such diverse projects Handel's oratorios to Mahler's cycles. He recently as Rameau's Les Grands Motets (Victoire de Ia sang Schubert's songs with the San Francisco Musique, 1995), The Magic Flute, Charpentier's Symphony Orchestra under the direction of Tilson David and Jonathan (for the Academie Thomas, Shubert's Mass in E minor at the Proms Europeenne de Musique Baroque d'Embronay), with the BBC Symphony Orchestra under the Mozart's , Handel's Messiah, Beethoven's direction of Belohlavek and Beethoven's Missa Solemnis, Purcell's King Arthur, Landi's II Symphony No. 9 at . Sant'Aiessio, the production at the Palais Garnier of Hippolyte et Aricie and Claudio Monteverdi's In opera, he has portrayed Figaro in The Marriage Vepres de Ia Vierge. of Figaro in Nice and Tourcoing, Guglielmo in Cosf Fan Tuite for the , He directed the ensemble in a program devoted Masetto in Don Giovanni, Mercurio in to Mondonville's Grands Motets, for the concerts L'incoronazione de Poppea for the Netherlands in Athens and he wi ll direct again during this Opera, Leporello in Don Giovanni for the Tourcoing season (June 1998) in a series of concerts ded­ Opera, Schaunard in La Boheme for the Canadian icated to Italian religious polyphony between Opera. Recently, he sang the role of Thesee in 1685 and 1750. Rameau's Hippolyte et Aricie and Mercurio in L'incoronazione de Poppea. He has also recently He has also been invited by the Opera de Nice sung in Rameau's Hippolyte et Aricie with Les to direct the choir for two procuctions of Gluck's Arts Florissants and William Christie at BAM. Alceste and Armide. Nathan Berg has also made several recordings. Franc;ois Bazola's ca reer has also led him to work Among the most notable are Handel's Messiah, with , Christophe Roussel, Mozart's Requiem and Didon et Enee with Wi lliam Cl1ristie, as well as Othmar Shoeck's plays Jacques Nichet (Va lerie Stephan's L'Epouse with the English Chamber Orchestra and Ju lius injustemenl soupr;onnee), Claudio Cinelli (Alain Drake. He has also recorded Mendelssohn's chants Feron's Tresor de Ia nuit) and the choreographer with and Eugene Asti, and par­ John Neumeier (Bach's Magnificat and Mass in ticipated in the prestigious Schubert se ries with Cat the Bastille Opera). Graham Johnson. Jerome Correas is also interested in French melody Among his opera projects are the roles of Masetto and lied and has given several recitals with the and Leporello in a new production of Don Giovanni pianist Claude Lavoix (Aix-en-Provence, Bastill e by Peter Brook, wi th direction by Opera, Montpellier Opera). and Daniel Harding. In concert, he will sing in Vaughan William's Sea Symphony in Vancouver, Among numerous recordings are Rameau's Handel's Messiah in Germany and France with Castor el Pollux and Les lndes Galantes, The the RIAS Berlin Chamber Choir, Haydn's Creation Fairy Queen (William Christie), Couperi n's Motets and The Seasons at Carnegie Hall with St. Luke's (Christophe Roussel), Mondonville's Grands Motets Chamber Orchestra under the direction of Robert (Christophe Coin) and Milhaud's et Syrinx. Shaw and Mozart's Requiem with the Indianapolis Symphony Orchestra and with the Orchestra of Jean-Paul Fouchecourt, in 1982, influenced by the Age of En lighten ment under the direction of Cathy Berberian, decided to devote himself to Roger Norrington. voice studies, in addition to continuing his career as a saxophonist and conductor. Nathan Berg will also be recordi ng Bach's Mass in C minor with the and will give He made his debut with William Christie and recita ls at Wigmore Hall , at the Belfast Festiva l Les Arts Florissants, and, in 1985, Alys marked and in Zurich. the beginning of his Baroque career.

Jerome Correas has sung and recorded under Subsequently, he has appeared in Purcell's The the direction of Wi lliam Christie in Rameau's Fairy Queen, Rameau's Les lndes Galantes and Castor et Pollux, Purcell's Oidon el Enee, Marin Pygmalion, Campra's ldomenee, Rossi's Orfeo Marais' Alcyone, Handel's Messiah, Campra's and many other concerts throughout the world: ldomenee, Rossi's Orfeo, Delalande's Les Grands the United States, Russia, South America, Japan Motets and he has performed with Mr. Ch ristie in and Europe. With Marc Minkowski and his the Opera-Comique, Chatelet, Paris Opera, Aix-cn­ Musiciens du Louvre, noteworthy appearances Provence, Mozarteum, Concertgebouw, Theatre include Lu lly's Phaeton, Rameau's Hippolyte et Colon in Buenos Aires and Sydney Opera). He Aricie, Mondonville's Tilon et I'Aurore, Handel's has also worked with Christophe Roussel (Handel's Resurrection and Lully's Acis et Galatee. Riccardo Primo and Admeto), Jean-Claude Ma lgoire (Rossini's Ciro in Babilonia, Campra's He has also been heard in Monteverdi's Orfeo in Requiem, Lully's Alceste, Monterverdi's Orfeo), Salzburg (Rene Jacobs), Monteverdi's Le Retour Roy Goodman (Pergolese's Lo frato'nnamoralo), d'Uiysse at the Geneva Opera (Michel Corboz), Sigiswald Kuijken and Michel Corboz (Bach's Britten's Song of a Summer Night at the Lyon Mass in C), Herve Niquer (Purcell's King Arthur, Opera (Stewart Bedford), Acteon and Didon et Rameau's Grands Motets), Paul Dombrecht Enee at the Teatro Colon in Buenos Aires (William (Bach's St. John Passion, Handel's Jephte), Christie), Monteverdi's Orfeo and L'incoronazione Sergio Vartolo (Cavalieri's Rappresentazione del­ de Poppea at the Amsterdam Opera (Stephen l'anima e del corpo) and Christophe Coi n Stubbs, Christophe Roussel) and Mozart's (Brossard's Grand Motets). Requiem and The Marriage of Figaro at Le Theatre des Champs-Eiysees (William Christie). In the theater he has worked with such directors as Jean-Marie Villegier, Adrian Noble, Alfredo More recently, he sang in the Saito Kinen Festival Arias, Christian Gangneron, Philippe Lenael, in Japan in Poulenc's Les Mamelles de Tiresias

'). ' (directed by Seiji Osawa) and with the Royal Opera was in her class at the Conservatoire National House Covent Garden at the Edinborough Festival Superieur de Musique in Paris in 1992. Here, in the title role of Rameau's Platee (dir. Nicholas he participated in Gerard Souzay's and Bernard McGegan) . Kruysen's master classes, and on stage he sang the roles of Tchaikovsky's Eugene Onegin and Some of the directors with whom he has collab­ Lca ndre in Prokofiev's The Love of Three orated are Jean-Marie Villegier, Alfredo Arias, Pierre Oranges, directed by Andre"! Serban. He won Audi, Robert Carsen, and others. He has also had First Voca l Prize in 1997 and was admitted to the opportunity to work with such conductors as advanced training in Christiane Patard's class. John Eliot Gardner for Berlioz, Michel Plasson for Offenbach, Kent Nagano for Debussy, Frans At the same time, he gave recitals of French Bri.iggen for Gluck, Sigiswald Kuijken and Michel melodies, participated in several contemporary Corboz for Bach. He participates regularly in works, and performed oratorios: notably, he has small group concerts, ranging from court arias sung Puccini's Messa di Gloria, under the direction to French melodies. of Michel Piquemal, Haydn's Paukenmesse, Carissimi's Jephte, Brahm's German Requiem, Jean-Paul Fouchecourt has made over sixty Mendelssohn's Walpurgisnacht with the Orchestre recordings, among the most recent are Sa tie's National de l'lle de France. Socrate, Rameau's Pygmalion, Mondonville's Titan el I'Aurore, Rameau's Hippolyte et Aricie In 1994 he began a collaboration with Wi lliam and Boieldieu's La Dame Blanche. The recording Christie which led him to Paris (Cite de Ia of Lcs Mamelles de Tiresias under the direction Musique, Palais Garnier), the Festivals in of Seiji Osawa will be released in France in 1998. Ambronay, Luce rn and Aix-en-Provencc, as wel l as to the Barbican Centre in London, the In the 1997-1998 season, several major Montecarlo Opera, Amsterdam's Concertgebouw, engagements include OrpMe aux enters (as Vienna's Musikverein and New York, where he Aristee/ Pluton) at the Lyon Opera (directed by sang Achis in Charpentier's David et Jonathas, Marc Minkowski), Ravel's L'Enfant et les Sortiil~gcs Mondonville's Grands Motets, Italian madrigals, at the Florence Opera (directed by M.W. Chung). and the second Fate in Rameau's Hippolyte et Offenbach's Les Conies de Hoffmann at the Aricie, directed by Jean-Marie Villi§gier and Metropolitan Opera, Ravel's L'Heure Espagnole Purcell's King Arthur, directed by Ana Yepes. He and L'Enfant et les Sortileges in Dresden, under has also recorded several of these works. the direction of Michel Plasson, and reprised in Berkeley and New York (dir. Nicholas McGegan). On stage in 1995, he interpreted the role of Monteverdi's Orfeo in Lyon, as wel l as Papageno In 1999 he will return to Covent Garden with in Mozart's The Magic Flute, directed by Ol ivier Rimski-Korsakov's Le Coq d'Or, a new production Desbordes at the Saint-Cere and Perelada Festivals of Platee at the Paris Opera (directed by Marc and at the Theatre Imperial in Compiegne. At Minkowski), L'incoronazione de Poppea at the the Rennes Opera, he portrayed Marullo in Aix-en-Provence Festival and a Japanese tour in Verdi's Rigoletto, and the Count in Offenbach's December featuring recita ls of French melodies. Madame I'Archiduc.

After having taught voice from 1994- 1996, In 1997, he alternately sang the roles of Ali and Jean-Paul Fouchecourt frequently gives classes Sander in Gretry's Zemire and Azor at the on baroque esthetics at the Conservatoire National Printemps des Arts in Nantes and at the Festival Superieur de Musique de Paris. of Nations in Citta di Castello in Italy.

Matthieu Lecroart began singing at a young age Along with Jennifer Larmore and Maria Bayo, he with the Maitrise d'Antony (lie de France). recently made his debut with Rene Jacobs and Following musical and literary studies, he the Concerto Koln in the role of Curio in a concert J(6became a student of Christiane Eda-Pierre and version of Handel's Julius Caesar. Among his projects are the role of Gaudenzio in She has recorded this work, as well as Les Rosinni's II Signor Bruschino at the Vichy Opera, Fetes d'Hebe, by the same composer. She has as wel l as Gaspard in Donizetti's Rita, in the also recorded Purcell's Didon et Enee and Jacques Salle Gaveau in Pa ri s. lbert's Angelique, which was cl1osen record of the year in Italy in 1996. GaiHie Mechaly was born in Marseille in 1970. She studied piano with Pierre Barbizet and later Gaelle Mechaly has recently enjoyed success in the voice with Andree Esposito and Julien Hass at ro le of Lucie in Benjamin Britten's The Rape of Marseille's Conserva toire. Lucrecia in Caen and directed by Stephan Grogler. Early on she won numerous prizes and competi­ Among her other engagements for the 1997- tions: Grand Prix de Ia Ville de Marseille in 1992, 1998 season are the recent completion of a tour of Prix Espoir in the Concours d'Oratorio in Gluck's Les Pelerins de Ia Mecque in Montpellier Clermont-Ferand, Grand Prix Henry Saugnet­ and Caen, and Ariadne auf Naxos (in the role of Yves Saint-Laurent, as well as the Grand Prix Na·iade) at Toulouse's ThM tre du Capitole. SACEM for Twentieth Century Music. Gaelle Mechaly has just been engaged by the She made her debut in Marseille in 1993 in Wallonia Royal Opera to sing the challenging role Rigoletto, then quickly appeared on many other of Cunegonde in Leonard Bernstein's Candide in French stages in Offenbach's Madame I'Archiduc, March 1999. On January 21, 1998, she per­ The Magic Flute, Parsifal, Nino Rota's Le Chapeau formed on the radio program, France Musique. de paille d'ltalie, Xavier Leroux's Le Chemineau (Aline) and Paul Dukas' Ariane et Barbe Bleue. Anna Maria Panzarella began her vocal studies at the Conservatoire de Grenoble and continued at the Invited regularly to Italy, she made her debut in Conservatoire Superieur de Musique de Geneve, Venice in 1995 in Debussy's Le Martyre de at the Royal College of Music with Graziella Saini-Sebastien under the direction of Marc Sciutti and at the London National Opera Studio. Soustrot, with staging by Pier-Luigi Pizzi. The same theater invited her to appear again in Her interpretation of Marie in La Fille du Regiment L'Enfant et les Sortileges, and most recently in at the Roya l College of Lond on opened opera's Carmen, in a production by Hugo de Ana. She doors for her, and she made her professional has also sung the title role in Jacques lbert's debut in the role of Frasquita (Carmen) at the Angelique in Palenna, as well as Gluck's Armide Geneva Opera in 1993, then at the Teatro San for the opening of the 1996 1997 season at Carlos in Lisbon. Mi lan's La Scala, under the direction of Riccardo Muti. Since then, she has taken on th e roles of Lisette (La Rondine) for Opera North and at the Noticed by William Christie during a rectial in Ludwigshafen Festival, Stephana (Romeo and Aix-en-Provence, she joined Les Arts Florissants' Juliet), Amore (Alexander Gochi's Arianna), vocal ensemble as a soloist and regularly partic­ Thibeault (Don Carlos) for the Roya l Opera Covent ipates in tours in France and abroad (Austria, Garden, Frasquita (Carmen) at the Festival in Italy, the United States, Australia and Japan). Israel, The First Lady (The Magic Flute) at the Festival in Aix-en-Provence and at the Lyon Opera, During the 1996 1997 season, she stood out Lauretta (Gianni Schicchi) for the Brussels in th e role of Amour while touring in Rameau's Monnaie, Donna Elvira (Don Giovanni) for the Hippolyte et Aricie at the Paris Opera (the open­ Zu id Opera, Aricie (Hippolyle et Aricie) at the ing of the Garnier season,) the Nice Opera, at Palais Garnier and in New York, Poussette (Manon) the Corum-Opera Berlioz in Montpellier, at the at the Opera Bastille and Balkis (L'Inconlro Musikvercin in Vienna and at BAM in New York, lmprovviso) at the Lausanne Opera. under the direction of William Christie, in a pro­ duction by Jean-Marie Villegier. In 1997 1998, she is singing Adele (Le Comle Dry) in Glyndeburne, is reprising the roles of Lauretta and Ba lkis at th e Opera Basti lle 1994, she has been a regu lar vocal soloist with and at the Bordeaux Opera. She wil l play Erinic William Christie: Marc-Antoine Charpentier's in Ramcau's Zoroastre (concert version) with David and Jona than, Stefano Landi's II Les Arts Florissants and William Christie at Le Sant'Aiessio, Monteverdi's madrigals, French Ch§telet, in Lyon, Caen and Brussels. Among her can tatas by Campra, Monteclair and Rameau, recordings are Mozart's Requiem, The Magic as well as Rameau's Zoroastre. She interpreted Flute, Hippolyte et Aricie, Antigona, Suor Angelica Danielis' motets at the Versailles Royal Chapel and Romeo and Juliet. with Christopher Roussel in October 1997.

Among her upcoming projects, she will sing Having joined the Atelier Lyrique in 1997, she Aedina Won Giovanni) in Geneva, Diane (Qrphee participated in Figaro (Barbcrinel, The Magic aux Enfers) at in Brussels, L'Enfant Flute (Papagena), et Hyacinthus (Melia), et les Sortileges and Der Zwerg at the Opera Dedale (Ariane) and L'osteria di Marechiaro Bastille, Pamina (The Magic Flute), for the Seoul (Spiritillo). Opera. In concert, she will appear in Handel's Israel in Egypt with Lcs Arts Florissants. For the 1997- 1998 season, her performances include The Magic Flute (Pamina), Jakob Lenz, Stephanie Revidat studied piano and organ at Orfeo (Proserpine), OrpMe et Eurydice (Eurydice), the Ecole Nationale de Musique in Annecy, Pinocchio (the Blue Fairy) and an Aragon recital. before receiving a master's degree in musicology in Lyon and taking up voice. She entered the With William Christie, Stephanie Revidat has Conservatoire National Superieur de Musique in recorded Landi's II Sant'Aiessio, Sigismondo Lyon in Margreet Honig's class and won the class d'lndia's madrigals (forthcoming) with Christophe prize in 1995. Roussel, Daniel Danielis' motets (forthcoming) and Handel's Alceste with Franck-Emmanuel Since 1992, Stephanie Revidat has been a Comte. soloist with the Concert de I'Hostel Dieu ensem­ ble, directed by Franck-Emmanuelie Comte. Since

1989 Atys (ful l production)

1991 Music of Marc-Antoine Charpentier (concert)

1992 Atys (full production)

1993 Castor et Pollux (concert performance) Les lndes Galantes (concert performance)

1994 Medee (full production)

1995 Baroque Music Festival including King Arthur (concert performance)

1996 Orlando (fu ll production)

Pilato of H1ppolytc ct Ancic by Dan Rest 1997 Hippolyte et Aricie (fu ll production) '-/j

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