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Home , Andromeda Liberata, Baldassare Galuppi, Baroque orchestra, Benedetto Marcello, Edison Award

Friday, February 24, 2017, 8pm Zellerbach Hall r e l w o F

n o m i S Nicola Benedetti, Baroque Orchestra

Gianpiero Zanocco, concertmaster Giacomo Catana, first violin Mauro Spinazzè, first violin Francesco Lovato, first violin Giorgio Baldan, second violin David Mazzacan, second violin Giuseppe Cabrio, second violin Claudio Rado, second violin Alessandra Di Vincenzo, Meri Skejic, viola Massimo Raccanelli Zaborra, Federico Toffano, cello Alessandro Pivelli, Ivano Zanenghi, Lorenzo Feder,

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PROGRAM

Baldassare GALUPPI (1706 –1785) a Quattro No. 2 in G Major for Strings and Continuo Andante Allegro Andante Allegro assai

Charles AVISON (1709 –1770) Concerto Grosso No. 8 in E minor aer Adagio Allegro Amoroso Vivace

Francesco GEMINIANI (1687 –1762) Concerto Grosso No. 12 in D minor, aer Corelli’s Violin in D minor, Op. 5, No 12, La Folia [Adagio – Allegro – Adagio – Vivace – Allegro – Andante – Allegro – Adagio – Adagio – Allegro – Adagio – Allegro]

Antonio VIVALDI (1678 –1741) Concerto for Violin, Strings, and Continuo in D Major, R. 212a, Fatto per la solennità della S. Lingua di St. Antonio in Padua Allegro Largo Allegro

INTERMISSION

VIVALDI e Four Seasons for Violin and Orchestra, Op. 8, Nos. 1-4 SPRING : (R. 269) : Allegro – Largo e pianissimo sempre – Danza Pastorale (Allegro) SUMMER : (R. 315) : Allegro non molto – Adagio – Presto AUTUMN : (R. 293) : Allegro – Adagio – Allegro WINTER : (R. 297) : Allegro non molto – Largo – Allegro

Opposite: photo by Simon Fowler  PROGRAM NOTES

Concerto a Quattro No. 2 in G Major (“church sonata,” a musical type oen used dur - for Strings and Continuo ing services in Italy)—four succinct movements disposed slow –fast –slow –fast, a fondness for Baldassare Galuppi’s importance in the 18th- contrapuntal textures—as well as encroaching century’s radical evolution of musical taste is Classicism—clear phrasing, symmetrical melo- in almost precisely inverse proportion to his no - dies, largely diatonic harmonies. Indeed, the toriety today—he was an influential agent of concerto seems to bridge the two musical gen - change from the deeply expressive profundities erations, with a noble opening Andante leading of the Baroque (he was born in Venice in 1706, to an imitative Allegro, and somber, sparsely when Bach was just beginning his first job, as scored Andante paired with a dance-like finale. organist in Arnstadt) to the elegant reserve of High Classicism (he died in 1785, the zenith of Concerto Grosso No. 8 in E minor Mozart’s career in ) but is now almost aer Domenico Scarlatti unknown. Galuppi received his early musical instruction from his father, a barber and theater e career of the English composer, conductor, violinist living on the island of Burano, in the organist, and writer on music Charles Avison . He took his formal training followed an unusual path—he chose to make with , principal organist at San his professional life not in the Empire’s major Marco, and by age 20 had established himself cities, declining important positions in , as a in the Venetian theaters Dublin, York, and Edinburgh, but in the pro - and started to compose. His first attempt at an vinces, working contentedly in his native city of , written before his studies with Lotti, did Newcastle upon Tyne. Avison was the fih of not succeed, but Dorinda of 1729 did, and it set nine children born to a Newcastle town wait the direction for a career that would make him (i.e., municipal musician), and began his musi - one of the most popular and widely performed cal training at home at an early age. Around composers of his day. Galuppi was based in 1730, he moved to London, probably to study Venice throughout his life—his works were with the Italian composer and violin virtuoso regularly produced at the city’s theaters and Fran cesco Geminiani. In June 1736, he re - across Italy, he taught at the Ospedale dei Men - turned home to Newcastle to assume the posi - dicanti and Ospedale degli Incurabili, girls’ tion of organist at St. John’s Church, and four orphanages with rigorous programs of music months later moved to a similar post at St. education for their wards, and served as Vice- Nicholas (now the city’s cathedral). In 1738, maestro and later as Maestro di coro at San Avison was promoted to the post of the church’s Marco—but he also held extended residencies music director, by which time he had also be - at King’s eatre in London and at the court of come director of concert series in Newcastle in St. Petersburg. When and Durham. Avison was also active as a tea- Galuppi died, in Venice in January 1785, the cher of harpsichord, organ, violin, and , city’s musicians showed their respect by estab - and in 1752 issued An Essay on Musical Ex - lishing a fund to pay for his elaborate funeral pression , one of the first treatises in English to Mass at Santo Stefano. discuss the effect of music upon the emotions Galuppi was best known for his many oper - and the proper manner of instrumental per - atic and sacred works, but he also composed formance. As a composer, Avison is best known numerous harpsichord pieces, sinfonias, and for his 60 concerti grossi , works unrepentantly concerti a quattro for strings and continuo. e influenced by the music of Corelli, which ap - dates of these works are unknown, though their peared in a half-dozen collections of six, eight transitional style suggests they were composed and 12 works each between 1740 and 1769. at the Baroque-Classical nexus around 1750. ere are, in addition, some 20 trio , e Concerto a Quattro No. 2 in G Major has an oratorio ( Ruth ), a few liturgical pieces in characteristics of the old sonata da chiesa English, and the 12 concerti grossi based on in -

 PLAYBILL PROGRAM NOTES dividual movements from the harpsichord from 1726 to 1748 was a busy time for Gemin - sonatas of Domenico Scarlatti (1685 –1757). iani of performing, teaching, composing, pro - e British taste for Domenico Scarlatti’s ducing concerts, and touring extensively in keyboard sonatas may be traced to omas Britain and on the Continent to perform his Roseingrave, a harpsichordist and organist born works. He continued his travels during his later in Winchester in 1690 who met the Italian years, dividing his time among Paris, London, composer during his studies in Venice. Aer re - and Dublin, where he died in 1762. turning to London in 1720, Roseingrave pro - Geminiani’s teacher Arcangelo Corelli pub - duced Scarlatti’s opera Narcisa and in 1739 lished his 12 Sonatas for Violin and Continuo, published a collection of his own Essercizi Op. 5 in Rome on January 1, 1700, and they (“Exercises”), the one-movement harpsichord proved to be among the most popular musical sonatas upon which his slim historical reputa - items of their time. All 12 were arranged as con - tion as a composer rests. By 1744 Avison had certi grossi by Francesco Geminiani in 1726 –27. arranged a dozen concerti grossi in the manner e last, Op. 5, No. 12 in D minor, is not a of Corelli and Geminiani, with a solo group sonata in the traditional sense but rather a set of set off from the larger ensemble, from some two dozen brilliant and contrasted variations on three dozen of Scarlatti’s sonatas. e thematic the old progression of modal harmonies known sources for the four movements of the Concerto as La Folia di Spagna (“e Folly of Spain”). La No. 8 in E minor have been traced to Scarlatti’s Folia originated as the accompaniment to wild sonatas, K[irkpatrick] 81a, 20, 81d, and 15. dances in Portugal and Spain in the 15th cen - Avison retained the essential melodic and tury, but it had been domesticated for more se - harmonic elements of Scarlatti’s originals but date musical purposes by Corelli’s time. excised some repeated passages and skillfully transcribed the remainder for string ensemble. Concerto for Violin, Strings, and Continuo e E-minor Concerto consists of a somber in D Major, R. 212a, Fatto per la solennità introductory Adagio, a spirited Allegro in a della S. Lingua di St. Antonio in Padua brighter key, a gently poignant Amoroso, and supple finale in the nature of a swaying dance. e Violin Concerto in D Major (R. 212)— Fatto per la solennità della S. Lingua di St. An - Concerto Grosso No. 12 in D minor, tonio in Padua : “Composed for the Feast of the aer Corelli’s Violin Sonata in D minor, Holy Tongue of St. Anthony in Padua”—is a Op. 5, No 12, La Folia rarity among Vivaldi’s works, a piece whose Francesco Geminiani exact premiere date and first executant are Francesco Geminiani was baptized (therefore, known: February 15, 1712; Padua’s Basilica di presumably, born) in Lucca, Italy in 1687. He Santo; Vivaldi. e work’s curious title is ex - first studied violin with his father, a player in plained by the venue and occasion for which it the Signoria Orchestra in Lucca, then went to was written. e Basilica Pontificia de Sant’ Milan as a pupil of Carlo Ambrogio Lonati Antonio di P adova was begun around 1232, soon and finally traveled to Rome, where his teachers aer its patron saint’s death in that city and the were Arcangelo Corelli and Alessandro Scar - year that he was canonized, to house his relics. latti. He joined the Lucca orchestra in 1707, but His body was placed in an elaborate side chapel was discharged in 1710 “for frequent absences.” but his tongue and chin, memorials of the force - He settled in Naples in 1711 as concertmaster of ful preaching of the Gospel for which he was the opera orchestra there, and three years later known, were preserved separately in a golden moved to London. Little is known of Gemin- reliquary. St. Anthony was venerated at the iani’s activities during the decade aer 1716; in Basilica twice annually, on his nominal feast day 1726, he published his arrangements of Corelli’s (June 13) and at a special service on February Op. 5 sonatas as concerti grossi , and was again 15 honoring the church’s most precious relic— demonstrably active in London. e period the Feast of the Holy Tongue of St. Anthony.

 PROGRAM NOTES

e Basilica in Padua had a strong musical into the employ of the Esterházy family in 1761. tradition and the services honoring its patron On the title page, Vivaldi described himself as saint were observed with splendor, with new the “ maestro in Italy” to the Count, though there works composed specially for the occasion and is no record of his having held a formal position extra performers brought in from Venice, the with him. Vivaldi probably met Morzin when great city of music just 30 miles to the east. e he worked in Mantua from 1718 to 1720 for the Venetian violinist Giovanni Battista Vivaldi, Habsburg governor of that city, Prince Philipp Antonio’s father and his principal teacher, of Hessen-Darmstadt, and apparently provided participated in services in 1698, 1699, and 1700, the Bohemian Count with an occasional compo - and both father and son took part in the sition on demand. (A concerto, R. 496, February service in 1712, for which Antonio is headed with Morzin’s name.) wrote the D-Major Violin Concerto and Vivaldi claimed that Morzin had been appeared as soloist in its first performance. e enjoying the of the 1725 Op. 8 set “for purpose of the service, of course, was to focus some years,” implying earlier composition dates the congregation’s attention on the holy relics, and a certain circulation of this music in ma - but the flamboyant virtuosity of Vivaldi’s new nuscript copies, and hoped that their appea - concerto, one of the most technically demand - rance in print would please his patron. e first ing pieces he ever wrote, could not have helped four concertos, those depicting the seasons of but draw some notice to himself, as well—he the year, seem to have especially excited Mor - even allowed for solo cadenzas, an adventurous zin’s admiration, so Vivaldi made specific the departure from established practice and form, programmatic implications of the works by by fully notating one in the finale and providing heading each of them with an anonymous a place for an improvised one in the first move - sonnet, perhaps of his own devising, and then ment. Sometime between 1718 and 1720, he cre - repeating the appropriate verses above the exact ated a second version of the Concerto (R. 212a) measures in the score which they had inspired. by making a few cuts in the outer movements e Four Seasons pleased not only Count Mor - and substituting a more lyrical and expressive zin, but quickly became one of Vivaldi’s most slow movement (which he liked well enough to popular works. A pirated edition appeared in use again intact in his Sonata for Violin and Paris within weeks of the Amsterdam publica - Continuo in G Major, R. 22). tion, and by 1728, the concertos had become e concerto’s framing Allegro movements regular items on the programs of the Concert are brilliant, energetic, and built according to Spirituel in Paris. e Spring Concerto was the Baroque formal principle that embedded adapted in 1755 as an unaccompanied flute solo solo episodes within a recurring orchestral re - by Jean Jacques Rousseau, the philosopher and frain ( ritornello , in Italian). e central move - dilettante composer who was attracted by the ment is melodic and deeply felt. work’s musical portrayal of Nature, and as a (!) by Michel Corrette to the text e Four Seasons , Op. 8, Nos. 1 –4 (ca. 1720) “Lau date Dominum de coelis” in 1765. Today, Vivaldi e Four Seasons remains Vivaldi’s best-known e Gazette d’Amsterdam of December 14, 1725 work, and one of the most beloved composi - announced the issuance by the local publisher tions in the orchestral repertory. Michele Carlo Le Cène of a collection of 12 Of Vivaldi’s more than 400 concertos, only 28 concertos for solo violin and orchestra by Anto - have titles, many of them referring to the perfor - nio Vivaldi— Il Cimento dell’Armonia e dell’ mer who first played the work or to the occasion Inventione , or “e Contest between Harmony for which it was written. Of the few composition and Invention,” Op. 8. e works were printed titles with true programmatic significance, seven wi th a flowery dedication typical of the time to are found in the Op. 8 collection: e Four the Bohemian Count Wenzel von Morzin, a di - Seasons plus La Tempesta di Mare (“e Storm stant cousin of Haydn’s patron before he came at Sea”), La Caccia (“e Hunt”), and Il Piacere

 PLAYBILL PROGRAM NOTES

(“Pleasure”). Concerning the title of the Op. 8 Spring , Op. 8, No. 1 (R. 269) set—“e Contest between Harmony and In- e spring has come, joyfully ven tion”—Amelia Haygood wrote, “ ‘Harmony’ (the vivacious opening section for full represents the formal structure of the composi - orchestra—the ritornello —that returns tions; ‘invention’ the unhampered flow of the between episodes and at the end of the composer’s creative imagination; and the ‘con - movement ) test’ implies a dynamic balance between the e birds welcome it with merry song two, which allows neither ‘harmony’ nor ‘in - (trills and shakes, ) vention’ to gain the upper hand. e perfect And the streams, in the gentle breezes, balance which results offers a richness in both flow forth with sweet murmurs. areas: the outpouring of melody, the variety of (undulating violin phrases ) instrumental color, the vivid musical imagery Now the sky is draped in black, are all to be found within a formal framework under and lightning announce a storm. which is elegant and solid.” (tremolos and fast scales ) ough specifically programmatic, the fast, When the storm has passed, the little birds outer movements of these works use the ritor - Return to their harmonious songs. nello form usually found in Baroque concertos. (gently rising phrases and long trills in e opening ritornello theme (Italian for “re - the violins ) turn”), depicting the general emotional mood of each fast movement, recurs to separate its And in the lovely meadow full of flowers, various descriptive episodes, so that the music To the gentle rustling of leaves and branches, fulfills both the demands of creating a logical, e goatherd sleeps, his faithful dog at his side. abstract form and evoking vivid images from (Movement II ) Nature. e slow, middle movements are lyri - cal, almost aria-like, in style. ough Vivaldi To the rustic bagpipe’s merry sound, frequently utilized in these pieces the standard Nymphs and shepherds dance under the concertino , or solo group, of two violins and lovely sky cello found in the 18th-century concerto When spring appears in all its brilliance. grosso, e Four Seasons is truly a work for solo (Movement III ) violin and orchestra, and much of the music’s charm comes from the contrasting and in - terweaving of the soloist, concertino, and ac - Summer , Op. 8, No. 2 (R. 315) companying orchestra. Of these evergreen In the heat of the blazing summer sun, concertos, Marc Pincherle, in his classic bio - Man and beast languish; the pine tree is graphy of Vivaldi, wrote, “eir breadth, their scorched. clearness of conception, the obvious pleasure (the enervated ritornello) with which the composer wrought them, the fa - e cuckoo raises his voice vorable reception which has been theirs from (wide, fast leaps in the solo violin ) the first, their reverberations since then— Soon the turtledove and goldfinch join in all these unite to make them one of the master - the song. pieces of the descriptive repertory.” (a solo violin episode with leaps and trills ) For the publication of e Four Seasons in A gentle breeze blows 1725, Vivaldi prefaced each of the concertos (quick triplets, violins ) with an explanatory sonnet. ese poems are But then the north wind battles with its given below with a note describing the music neighbor relating to the particular verses: (rushing scales, full orchestra ) And the shepherd weeps (expressive, chromatic theme for solo violin and continuo )

 PROGRAM NOTES

As above him the dreaded storm gathers, Terrified and exhausted by the great noise controlling his fate. Of guns and dogs. (forceful scales and figurations in the full (violent, shaking figures in the orchestra ) orchestra ) Wounded, it tries feebly to escape, But is caught and dies. His weary limbs are roused from rest (flashing scales by the soloist cut short by By his fear of the lightning and fierce thunder the violent interjections of the orchestra ) And by the angry swarms of flies and hornets. (Movement II, alternating bittersweet plaints from the solo violin with quick, repeated note Winter , Op. 8, No. 4 (R. 297) interjections by the full orchestra ) Freezing and shivering in the icy darkness (the chordal, almost motionless main theme ) Alas, his fears are borne out In the severe gusts of a terrible wind under and lightning dominate the sky (rushing scales and chords in the solo violin ) Bending down the tops of trees and flattening Running and stamping one’s feet constantly the grain. (a brief, repeated note motive alternating (the tempestuous third movement ) with a leaping figure ) So chilled that one’s teeth chatter. (tremolo ) Autumn , Op. 8, No. 3 (R. 293) e peasants celebrate with dance and song Spending quiet and happy days by the fire e joy of a fine harvest While outside the rain pours everywhere. (the merry opening ritornello) (Movement II ) And filled with Bacchus’ liquor (inebriated arpeggios, scales, trills and Walking on the ice with slow steps figurations from the solo violin alternating (the plaintive main theme, solo violin ) with the ritornello theme ) Walking carefully for fear of falling He ends his fun in sleep. (slow, steady chords in the orchestra ) (progressively slower notes in the solo violin en stepping out boldly, and falling down. until the music stops completely before (quick scales and then several brief ending with the ritornello theme ) descending flourishes ) Going out once again onto the ice, and Everyone is made to leave off dancing and singing running boldly e air is gentle and pleasing (steady motion up and down the scale in And the season invites everyone the solo violin ) To enjoy a delightful sleep. Until the ice cracks and breaks, (Movement II ) (snapping, separated figures ) Hearing, as they burst forth from their iron At dawn the hunters set out gates, the Scirocco, With horns, guns and dogs. (a smooth melody in close-interval harmony ) (the bounding main theme ) e North Wind, and all the winds battling. e hunted animal flees, the hunters follow is is winter, but such joy it brings. its tracks (rushing figurations close the work ) (arpeggiated triplets in the solo violin )

 PLAYBILL ABOUT THE ARTISTS

Nicola Benedetti (violin ) is one of the most toph Eschen bach, James Gaffigan, Valery Ger - sought after violinists of her generation. Her giev, Alan Gil bert, Jakub Hrusa, Louis Langrée, ability to captivate audiences with her innate Andrew Litton, Kristjan Järvi, Neeme Jaarvi, musicianship and dynamic presence, coupled Paavo Järvi, Vladimir Jurowski, Andrea Marcon, with her wide appeal as a high-profile advocate Sir Neville Marriner, Peter Oundjian, Vasily for , has made her one of today’s Petrenko, Donald Runnicles, Thomas Son - most influential classical artists. With concerto dergard, Yan Pascal Tortelier, Krzysztof Urban - performances at the heart of her career, Bene- ski, Pinchas Zukerman, and Jaap van Zweden. detti is in much demand with major orchestras With her regular duo partner, pianist Alexei and conductors across the globe. She began the Grynyuk, Benedetti frequently performs recitals 2015 –16 season by embarking on a tour of the in the world’s leading concert halls and festivals UKs leading concert halls performing a person - with the most recent and future highlights in - ally curated program together with a specially cluding Wigmore Hall, Concertgebouw Amster - formed ensemble. The program features Vival - dam, Utrecht , Rome, Copenhagen, Dortmund, di’s Four Seasons and the world premiere of a Ludwigshafen, Bielefeld, and Kiel. Benedetti is work by Mark-Anthony Turnage written for her also a devoted chamber musician and collabo - and cellist Leonard Elschen broich. The commis - rates with cellist Leonard Elschenbroich and sioning of new works continued with the highly pianist Alexei Grynyuk; the three have been per - anticipated world pre miere of ’ forming as a trio since 2008. Recent and future Violin Concerto with the London Sym phony performances include St John’s Smith Square in Orchestra written especially for Benedetti. London, Amsterdam Concertgebouw, Birming - Further concerto performances this season ham Symphony Hall, Edinburgh Usher Hall, include engagements with the Israel Philhar - Glas gow Royal Concert Hall, LSO St. Luke’s, monic, Verdi Orchestra Milano, RSO Stuttgart, Frankfurt Alte Oper, Die Glocke Bremen, Hong City of Birmingham Symphony Orchestra, Royal Kong City Hall, two tours of South America, Scottish National Orchestra, Scottish Ensemble, and at the Edinburgh, Ravinia, Schloss Elmau, BBC National Orchestra of Wales, National and Cheltenham festivals. Arts Centre Orchestra of Ottawa, Vancouver Fiercely committed to music education and Sym phony Orchestra, Minnesota Orchestra, to developing young talent, Benedetti has New Zealand Symphony Orchestra, and at the formed associations with education establish - Ravinia Festival with the Chicago Symphony ments including schools, music colleges, and Orchestra. This season also sees Benedetti con - local authorities. In 2010 she became Sistema tinuing her passion for music of the Italian Scotland’s official musical “Big Sister” for the Baroque and historical performance realized in Big Noise project—a music initiative partnered collaborations with Andrea Marcon with the with Ven ezuela’s El Sistema (Fundación Musical Manchester Camerata and WDR Cologne. Simón Bolívar). As a board member and teacher, Most recently Benedetti enjoyed collabora - Benedetti embraces her position of role model tio ns with the London Symphony Orchestra, Lon - to encourage young people to take up music and don Philharmonic, Orchestra of the Mari insky work hard at it, and she continues to spread this Theatre, Berlin Konzerthaus orchester, WDR message in school visits and master classes, not Cologne, Camerata Salzburg, Danish National only in Scotland, but around the world. Symphony Orchestra, La Cetra Barock orchester, In addition, Benedetti recently developed her Czech Philharmonic, Royal Scottish National own education and outreach initiative entitled Orchestra, Toronto Symphony Orch estra, Pitts - The Benedetti Sessions. Established in March burgh Symphony, and Melbourne Symphony, 2013 at Glasgow’s City Halls, these sessions give among others. hundreds of aspiring young string players the Conductors with whom Nicola Benedetti has opportunity to rehearse, undertake, and observe worked and will work include Vladimir Ashke - master classes culminating in a performance nazy, Jiří B ělohlávek, Stéphane Denève, Chris - alongside Benedetti. She has also presented The

 ABOUT THE ARTISTS

Benedetti Sessions at the Royal Albert Hall and The Venice Baroque Orchestra (VBO) was Cheltenham Festival and has plans to develop founded in 1997 by Baroque scholar and harp - this exciting initiative on an international scale. sichordist Andrea Marcon, and is recognized as Winner of Best Female Artist at both the one of today’s finest period-instrument ensem - 2012 and 2013 Classical , Benedetti bles. The orchestra has received wide acclaim for records exclusively for Decca (Universal Music). its concert and opera performances throughout The success of her most recent re cording, North America, Europe, South America, Japan, Homecoming; A Scottish Fantasy , made Bene - Korea, Taiwan, and China, and has appeared in detti the first solo British violinist since the more US cities than any other Baroque orches - 1990s to enter the Top 20 of the official UK al - tra in history. bums chart. The Silver Violin also enjoyed a sim - Committed to the rediscovery of 17th- and ilar success. Her past six recordings on Universal/ 18th-century masterpieces, under Marcon’s Deutsche Grammophon include a varied cata - leadership the VBO has given the modern-day logue of works including the Szymanowski premieres of ’s L’Orione , Con certo (London Symphony Orchestra/Daniel Vivaldi’s and Andromeda liberata , Harding), newly commissioned works by Tave - Benedetto Marcello’s La morte d’Adone and Il ner and The Lark Ascending (London Phil har - trionfo della poesia e della musica , and Boccher- monic/Andrew Litton), a disc of virtuosic works ini’s La Clementina . With Teatro La Fenice in (Royal Liverpool Philharmonic/Vasily Petrenko), Venice, the Orchestra has staged Cimarosa’s Tchaikovsky and Bruch concertos (Czech Phil - L’Olimpiade , Handel’s , and Galuppi’s harmonic Orchestra/Jakub Hrusa), and Vivaldi, L’Olimpiade , and reprised Siroe at the Brooklyn Tartini, and Veracini concertos (Scottish Cham - Academy of Music in its first full US staging. ber Orch estra with Christian Curnyn). The orchestra has been seen worldwide Benedetti attracts an enormous amount of through several television specials, including worldwide media attention following the vari - films by the BBC, ARTE, NTR (), ous facets of her extraordinary career and her and NHK. The musicians are the subject international television appearances have of three recent video recordings, and their been wide and varied, including performing at per formances were also featured on Swiss tele - the Opening Ceremony of the 2014 Common - vision in Vivaldi in Venice, a documentary film wealth Games to a live audience of nearly by Richard Dindo. 40,000 and a television viewing audience of 9.4 Highlights of the 2016 –17 season include Vi - million people. val di’s at Carnegie Hall, Lon - Benedetti was appointed as a Member of the don’s Barbican Centre, and Brussels’ Palais des Most Excellent Order of the British Empire Beaux-Arts, marking the occasion of the 300th (MBE) in the 2013 New Year Honors, in recog - anniversary of the oratorio’s premiere in Venice; nition of her international music career and performances with violinist Viktoria Mullova her work with musical charities throughout the at Vienna’s Musikverein and in Buda pest; and United Kingdom. In addition, Benedetti has re - a tour of Japan with mandolinist Avi Avital. ceived eight honorary degrees to date. Past performance highlights include exten - Born in Scotland of Italian heritage, Benedetti sive tours of Europe, the United States, and Asia began violin lessons at the age of five with with countertenor Philippe Jaroussky; concerts Brenda Smith. In 1997 she entered the Yehudi with contralto Marie-Nicole Lemieux in France Menuhin School, where she studied with Na- and Belgium; concerts with mandolinist Avi tasha Boyarskaya. Upon leaving, she continued Avital in Italy, Croatia, Germany, Spain, France, her studies with Maciej Rakowski and then Mexico, the United States, and Canada; a per - Pavel Vernikov. She continues to work with mul - formance in the Frauenkirche with soprano tiple acclaimed teachers and performers. Karina Gauvin for the Dresden Music Festival; Nicola Benedetti plays the Gariel Stradivarius and a tour with mezzo-soprano Magdalena (1717), courtesy of Jonathan Moulds. Kožená including the Istanbul Festival and

 PLAYBILL ABOUT THE ARTISTS

the Mariinsky Theatre in St. Petersburg. Highly and Carmignola; and Italian arias with Petibon. unusual for a Baroque ensemble, the VBO The orchestra’s earlier discography on Sony premiered Philip Glass’s violin concerto The with Carmignola includes The Four Sea sons , Ameri can Four Seasons . previously unrecorded Vivaldi concertos, and a The Venice Baroque Orchestra’s latest re - collection of Bach arias featuring Angelika cording, featuring Avi Avital in Vivaldi concer - Kirchschlager. The orchestra has also been hon - tos, was released by Deutsche Grammophon. ored with the Diapason d’Or, Echo Award, and The musicians’ previous recording, featuring the Edison Award. Philippe Jaroussky in Porpora arias on the Erato The Venice Baroque Orchestra is supported label, received a Grammy nomination. The by Fondazione Cassamarca in Treviso. 2012 release on Naïve, a pasticcio of Metastasio’s L’Olimpiade featuring the recording premieres For more information, please visit of many 18th-century opera arias, was awarded http://www.venicebaroqueorchestra.it/cms/ the Choc du Monde de la Musique. The VBO has an extensive discography with Sony and e Venice Baroque Orchestra can be heard Deutsche Grammophon. The group’s world- on Sony, Deutsche Grammophon, Naïve, and premiere recording of Andromeda liberata for War ner Classics. Like Venice Baroque Orchestra DG was followed by violin concertos with Giu - on Facebook. liano Carmignola; Vivaldi sinfonias and con - certos for strings; Vivaldi and arias with Management soprano Simone Kermes; two discs with Mag - Alliance Artist Management dalena Kožená—Handel arias and Vivaldi arias; 5030 Broadway Suite 812 Vivaldi violin concertos with Viktoria Mullova New York, NY 10034

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