2002 Spring Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer

presents Lincoronazione di Poppea by Claudio Monteverdi Dutch National (De Nederlandse Opera) Les Talens Lyriques

Approximate BAM Howard Gilman Opera House running time: April 16 & 19, 2002 at 7pm 4 hours 15 April 21 at 2pm minutes with two intermissions Conductor Christophe Rousset Director Pierre Audi Set designer Michael Simon Costumer designer Emi Wada Lighting designer Jean Kalman

En gli sh titles Chris Bergen

Production premiere: November 7, 1993 (revived in 1994, 1996, and 2001), Het Muziektheater, Amsterdam

The Monteverdi Cycle has been made possible by The Peter Jay Sharp Foundation with additional leadership grants from BAM Opera Honorary Chairman Alberto Vilar and The Andrew W Mel/on Foundation.

This performance is made possible by a grant from the Netherlands Culture Fund, the program set up by the Ministries of Foreign Affairs and Education, Culture & Science to strengthen the Netherlands' international cultural relations.

Leadership support for BAM Opera is provided by The Fan Fox and Leslie R. Samuels Foundation, Inc.; The Norman & Rosita Winston Foundation, Inc.; The Gladys Krieble Delmas Foundation; The Isak and Rose Weinman Foundation, Inc.; with additional spport from The Vincent Astor Foundation; and Anne and Gordon Getty Foundation.

Major support for this performance is provided by Fleet. Additional support is provided by The Eleanor Naylor Dana Charitable Trust; The Netherland-America Foundation; and the Consulate General of The Netherlands. 17 Soloists and choir Poppea Cynthia Haymon Nerone Brigitte Baileys Ottavia Graciela Araya Ottone Michael Chance Seneca Andrea Silvestrelli Drusilla Sandrine Piau Amalta Jean-Paul Fouchecourt Nutrice Christopher Gillett Valletto Cassandre Berthon Fortuna Elena Vink Amore/Damigella Gaele Ie Roi Virtu/Pa llade Clarissa Meek Mercurio/Console 1 Evgueniy Alexiev Lucano/Soldato 1fTribune l/Famigliare 2 Mark Tucker Liberto Capitano/Soldato 2fTribune 2 Philip Sheffield Littore/Famigliare 3/Console 2 Romain Bischoff Famigliare 1 Thierry Gregoire Orchestra Continuo Orchestra Les Talens Lyrique Christophe Rousset Stefano Montanari Yvon Reperent Gilone Gaubert-Jacques Stephen Stubbs Makoto Akatsu Erin Headley Meillane Wilmotte Ophelie Galliard Jean-Pierre Canihac Richard Myron Fritz Heller Anne Marie Lasla HeloIse Gaillard Maxine Eilander

Production staff Assista nt director Wim Trompert Stage manager Rudy Van Wiyk Assistant stage manager Alvin Williams Master carpenter Wim Kuyper Second master ca rpenter Dimitri de Groot Lighting supervisor Jan Koremans Wardrobe supervisor Robby Duiveman Wardrobe assistant Krystyna Peda Makeup Ilona Wozniak Special effects/props Niek Gersen Production ma nager Dein Schmidt Tour coordinator Ellen Uerz

Les Talens Lorraine Villermaux Lyriques staff Benoit Thivel

Dutch National Opera Staff (De Nederlandse Opera) Chorus Artistic Director Winfried Maczewski Direction Chorus Administrator Bridget Kievits Artistic Director Pierre Audi Artistic Administrator Peter de Caluwe General Administrator Truze M. Lodder Dramaturge Klaus Bertisch Principal Conductor Edo de Waart Head of Planning Jaap Mosterd Principal Guest Conductor Hartmut Haenchen Associate Conductor Julian Reynolds Head of Communications Pablo Fernandez DNO counts some 40 artistic and Senior Librarian Ed Versteeg administrative staff members. Economic Policy Coordinator Eva Kolarik 18 Fortune, Virtue, and Love struggle for sovereignty over gods and men in the Prologue. Love wins the day and promises that he will show how far his influence extends that same day.

The Roman Emperor Nero is in love with the courtesan Poppea. He wants her to be his wife and to repudiate his lawful spouse, Octavia. Nero's mentor Seneca finds these plans both morally and politically reprehensible. He is ordered to commit suicide as payment for his opposition.

Octavia is desperate and decides to have Poppea murdered. She blackmails Otho-Poppea's former lover-and forces him to carry out the murder. Otho calls upon Drusilla, whom he abandoned for Poppea. Torn apart by love and resentment Otho, disguised in Drusilla's cloak, creeps up on Poppea as she sleeps . Her murder is prevented by Love, who promises to ensure that Poppea will be crowned Empress that day.

Drusilla 's cloak has been recognized; she is arrested and brought before Nero, who questions her closely. In order to protect Otho she takes th e entire blame upon herself. Otho hears this and reveals the true course of events. Otho is banished from Rome, but Drusilla may go with him as a reward for her proven fidelity. Nero now has sufficient reason to repudiate Octavia and banishes her permanently from Rome. Poppea is crowned Empress. In a euphoric final duet Nero and Poppea sing a hymn honoring their love .

Janneke van der Meulen. Translated by Peter Lockwood. \I\/ho', \I\/ho

Dutch National Opera (De Nederlandse Opera , policy pursued by the company. I want to build or DNO) was founded in 1946 as a repertory this company into one of the major art institu­ company with a permanent ensemble. As a tour­ tions in the Netherlands. Opera has reached a ing company it gave about 200 performances a crossroad in its history. Al l at once, opera is wit­ year in the four major cities and in the nessing an increasing popularity as well as fac­ provinces. In 1964, the Nederlandse ing a tremendous crisis." DNO is committed to Operastichting was founded, establ ishing the seeking out and encouraging Dutch talent. The stagione system (contracted on a production-by­ company seeks to operate on an international production basis). The company was based in level and is committed to involving Dutch the Amsterdam Stadsschouwburg (Municipal singers, designers, conductors, composers, and Theatre) and performed in other cities. In 1986, directors in th is goal. DNO is cu ltivating an iden­ upon moving to Het Muziektheater on tity as an adventurous, risk-taking institution Waterlooplein, the company was renamed De with an eye on the future, not content to play Nederlandse Opera (DNO). Since 1988, the safe and become a company of 'museum company is jointly run by Pierre Audi (artistic .' At DNO, artistic considerations are pa ra­ director) and Truze Lodder (general administra­ mount and take precedent over administrative tor). DNO stands for contrast and diversity and matters. The artistic direction has developed a pursues an adventurous policy. Artistic Director vision which strongly determines the identity of Pierre Audi is building a wide range of repertory, the company. The administrative management is juxtaposing classical with contemporary and at the service of the artistic policy, doing what is well-known with lesser-known works-variety necessary to create a climate where dreams can not for variety's sake, but to emphasize that be realized. Recent seasons have focused on each performance offers the opportunity to dis­ large and complex productions including cover a new facet of opera history. Audi says of Schonberg's Moses und Aron and a complete his task: "I offer the public a coherent vision of cycle of Wagner's Oer Ring des Nibelungen. opera ... a vision which represents my relation to Each season DNO mounts an average of ten this art form as well as my reaction to an existing productions, each of which receives around ten

19 \/\/bo', \/\/bo performances in Het Muziektheater. In addition /I mercato di Malmantile (Cimarosa), Armida to these regular productions, DNO also stages abbandonata (Jommelli), Antigona (Traetta), one or two small-scale productions each yea r in Didone (Cavalli) and Les fetes de Paphos a different venue. These opera-related produc­ (Mondonville) . His discography includes the com­ tions-usually of contemporary works-form an plete harpsichord works by Rameau and Couperin extension of Audi's programming policy. DNO (Gramophone Award, Prix Caecilia, Cannes also regularly collaborates on co-productions Classical Award). Recent appearances include with opera houses and festivals outside the Mozart's Mitridate (in Lyon, together with a CD Netherlands, such as Hyperion with the Festival recording at the Chatelet in ) , and Handel's D'Autom ne in Paris and the Wiener Festwochen; Giulio Cesare (Montpellier), Serse (Montpellier and Snatched by the Gods/Broken Strings with the Dresden), and Tamerlano (Drottningholm). Current Munich Biennale, and Moses und Aron with the and future engagements include Didone Salzburg Festival (1996). In 1993, at the invita­ (Lausanne and elsewhere), Traetta 's Ippolito e tion of BAM, the production of /I Ritorno d'Ulisse Aricia (Montpellier), Bach's Sl. John Passion in Patria was performed in New York and also in (Turin), Pergolesi's Stabat mater (intemational Sydney in 1999. The world premiere of Louis tour) , Lully's Cadmus et Hermione (Ambronay), Andriessen's/Peter Greenaway's Writing to Cimarosa's /I matrimonio segreto (Theatre des Vermeer (2000) travelled to Adelaide and Champs Elysees) , Handel's Arianna (new New York. production), and Tamer/ana (reprised in Drottningholm). Les Talens Lyriques , an international Baroque ensemble, was founded in 1991 by Christophe Pierre Audi was born in Beirut in 1957 and edu­ Roussel. The group comprises members of a cated there, in Paris , and at Oxford University­ younger generation of Baroque specialists. The Exeter College (1975-78) where he studied name refers to a work of the same name by history. He became a British citizen in 1988. He Rameau, and is an homage to 18th-century founded the Almeida Theatre and its festival of music. The performing group's size varies according to the requirements of each work. The contemporary music in London, which he ran as ensemble's repertoire consists of operatic works its artistic director between 1979 and 1989. In by Monteverdi (L'incoronazione di Poppea and 1988 he was appointed artistic director of the the Eighth Book of Madrigals), Handel , DNO in Amsterdam. Productions for the Almeida Cimarosa, Jommelli , and Mozart; in addition to Theatre include many contemporary plays and motets by Dumont and Danielis; cantatas by operas (mostly first performances or British pre­ Clerambault, Brossard , and Monteclair; and airs mieres). For DNO his productions include all de cour by Dumont, Lambert, and De la Barre. four operas by Monteverdi (II Ritorno d'Ulisse in Les Talens Lyriques has collaborated with stage Patria was presented at BAM in 1994 as well as directors Jean-Marie Villegier, Philippe Lenael , Jean-Claude Berutti , Pierre Audi, and others. the Los Angeles Opera in 1997 and the Sydney Festival in 1999); Wagner's Ring cycle (the first Christophe Rousset (conductor) studied harpsi­ to be produced in the Netherlands) and chord with Huguette Dreyfus at the Schola Lohengrin; Harrison Birtwistle's Punch and Cantorum in Paris and with Bob van Asperen at Judy; Morton Feldman's Neither; Mozart's the Royal Conservatory in The Hague. In 1983 he Mitridate, /I Re pastore, and Die Zauberf/ote; won the Bruges harpsichord competition, which Schoenberg's three one-act operas: Erwartung, lee to solo appearances at prestigious music festi­ Die Gluckliche Hand, Von Heute auf Morgen; va ls such as Aix-in-Provence, Beaune, Utrecht, Gluck's Alceste; Puccini's La boheme; Claude and Nantes, as well as concerts with the La Petite Bande, Musica Antiqua K61n, The Academy of Vivier's Reves d'un Marco Polo; and world pre­ Ancient Music, II Seminario Musicale, and Les mieres of operas by composers Theo Loevendie, Arts Florissants. He has conducted Les Arts Guus Jansen, Param Vir, and Alexander Knaifel. Florissants, II Seminario Musicale, and the ensem­ As a guest he has directed plays by Shakespeare ble Les Talens Lyriques , which he founded in (Timon and Measure for Measure), Racine 1991. Rousset's opera repertoire includes (Berenice), and Sophocles (The Oedipus plays), Scipione, Riccardo Primo, Rinaldo and Admeto for the two lead ing drama companies in Holland: (Handel), L'incoronazione di Poppea (Monteverdi), Toneelgroep Amsterdam and Zuidelijk Toneel. 20 \A/ho'c:. \A/ho

For opera, he staged the British premiere of Toneelgroep Amsterdam's production of Verdi's Jerusalem for Opera North in the U.K. , Shakespeare's Timon of Athens (directed by Pierre the world premiere of Hans Werner Henze's Audi). As a stage director Michael Simon has real­ Venus and Adonis for the Bayerische Staasoper ized the operas Prometheus (Nuremburg), Das in Munich (a production later presented in Spiel von Ende der Welt, Der f/iegende Hollander (Darmstadt) and Moses und Aron (Bremen). Since Genoa and in Mannheim), Handel's Tamerlano 1994 he has designed and directed The Black for the Drottningholm Court Theatre in Sweden, Rider (Dortmund and Berliner Theatertreffen), Dr. and Cimarosa's " Matrimonio Segreto for the Jekyll und Mr. Hyde (Volksbuhne Berlin), La Tasca Theatre des Champs Elysees in Paris. Many of (Burgtheater Wien), and Der Glockner von Notre his productions have been fi lmed for television Dame (Residenztheater Munchen). For the including the full Monteverdi and Ring cycles. Schaubuhne Berlin (1996-1998), projects He recently directed his first feature film, For include Schlaflos, Woyzeck, and Von dem der Birth of Death?, an adaptation of two Canticles auszog das Furchten zu lernen as well as Shockheaded Peter (2000) for the Dusseldorfer by Benjamin Britten for Dutch television . Audi Schauspielhaus. Since 1998 Simon has worked received the Lesley Boosey Award for his ser­ regularly with the Oper Bonn on projects including vices to British musical life in 1989. He was Narcissus and Stimme allein (with composer Beat awarded the Dutch Theatre Critics' Prize for his Furrer) and Konigin Ok (Klaus Lang). He designed Shakespeare and Monteverdi productions in Matthias Pintschers' Gesprungene Glacken for the 1996. He was knighted in 2000 in the Order of Mannheim Nationaltheater and Die Blinden the Dutch Lion for his contribution to culture in (Furrer) for the Aachener Oper. Installations by Holland. Last year he was named Chevalier de Simon include I Didn't Start the Fire (Weimar, la Legion d'Honneur and received the Prins 1999) and Welcome Home (German Pavilion Expo 2000). In 1998 Simon was appointed the Bernhard Cultuurfonds Theatre Prize for his work t~ faculty of the Hochschule fUr Gestaltung Karlsruhe as a director and artistic director of DNO. Future as instructor of set design. He has performed in plans include the world premiere of Tan Dun's the DNO productions II Ritorno d'Ulisse in Patria new opera Tea for the Suntory Hall in Tokyo and II combattimento di Tancredi e Clorinda, COrfeo.' DNO, and new productions of Mozart's La Mitridate, La boheme, Writing to Vermeer, HIEW, Clemenza di Tito and Berlioz' Les Troyens for and Alice in Wonderland. Amsterdam. He returns in 2003 to Drottningholm for a new production of Em i Wada (costume designer) studied in Kyoto Handel's Alcina. at the City College of Arts. Her costume designs include those for King Lear (directed by Giles Michael Simon (set designer) has worked for Block, 1993), Anthony and Cleopatra (Peter William Forsythe at NDT and Ballett Frankfurt Stein, Salzburger Festspiele 1994), La Marie since 1982. He collaborated on productions of Vison (Hans Peter Cloos, 1994/1996), Timon of Gange, LOC, Isabel's Dance, Impressing the Czar, Athens (Pierre Audi , Toneelgroep Amsterdam, and Umb's Theorem . Additionally, he has lent his 1995), Caigle a deux tetes (Tokyo 1997), The assistance to theater productions in Hamburg, Ghost Is Here (Tokyo 1998), The Good Person Berlin, Dusseldorf, and Frankfurt. In 1990 he of Sichuan (Kazuyoshi Kushida, Tokyo 1999), worked with Pierre Audi on Verdi's Jerusalem in and for the dance production by Karine Leeds, and designed Wozzeck and Kilta Kabanova Saporta (1992). Costume designs for film in Basel. He provided the sets for the NDT's pro­ include Ran (Academy Award and British duction of Jirf Kylian's Kaguyahime, Stepping Academy Award nomination for best costumes) Stones , Whereabouts Unknown , and Tiger Uly. and Akira Kurosawa's Dreams (1985 and His own theater productions include Elements of 1990), Prospera's Books (Peter Greenaway, Crime and Arcimboldo for NDT, and Newton's 1991), The Bride with White Hair (Ronny Yu ; Casino , Roman Dogs, Narrative Landscape , and Hong Kong Film award for best costumes , Real Ufe for the Theater Am Turm in Frankfurt. In 1993), The Pillow Book (Peter Greenaway, 1993 he was stage director and set designer for 1996), The Soong Sisters (Mabel Cheung, Detlef Mueller-Siemens' opera Die Menschen 1997; Gold Statue at the 1998 Hong Kong Film (Basel). In 1995 he designed the sets for Awards), and Eight and a Half Women (Peter Greenaway, 1999). Operas include Stravinsky's 20A \I\Lbo'c \I\Lbo

Oedipus Rex, Sa ito Kinen Festival 1992 (direct­ nominated for the Drama Desk Award for ed by Julie Taymor) and Milhaud's Christophe Outstanding Lighting Design for The Waste Land Colomb, Deutsche Staatsoper Berlin 1998 (directed by Deborah Warner, New York). Ka lman (directed by Peter Greenaway and Saskia has lit numerous DNO productions including /I Boddeke) . Current and future engagements Ritorno d'Ulisse in Patria, /I combattimento di include the film Gohatto (Oshima), Britten's Tancredi e Clorinda, rOrfeo, Mitridate, II re pastore, Curlew River (Middelburg), Sondheim's musica l Die Zauberfl6te, La boheme, Die gluckiche Hand, Pacific Overtures (Japan) and Mythodia, com­ Erwartung, Von heute auf morgen, Neither, Punch posed and directed by Vangel is (Olympic and Judy, Gassir, Snatched by the Gods/Broken Stad ium, Athens). She has worked on the DNO Strings, Noach, HIEW, Dialogues des Carmelites, productions of Alceste and Writing to Vermeer. Pique dame, Tristan und Isolde, Alice in Wonderland, and Lohengrin; with decor and light­ Jean Kalman (lighting designer) has created light­ ing credits for Alceste and Reves d'un Marco Polo. ing designs in , Italy, Great Britain, the Netherlands, the U.S., and Japan, working with Evgueniy Alexiev (bartione, Mercurio/Console 1) prominent stage directors and theaters. In the past studied at the Sofia Conservatory with Prof. Nicola he has been the guest of the Opera National de Vassilev and continued his studies at the opera stu­ Paris; Theatre du Chatelet; Opera de Lyon; RN T dio of the Opera Bastille in Paris . He won first prize (London); RO H Covent Garden; Royal Shakespeare at the XI! Vocal Competition in Ales (France) and Company (Stratford-upon-Avon) in Amsterdam, was a finalist at the International Luciano Pavorotti Munich, and Venice (La Fen ice); New York's Vocal Competition in Philadelphia. His repertoire ; and Chicago Lyric Opera . He includes the Mozart roles Masetto and Don has worked at festivals such as Glyndebourne, Giovanni (Don Giovanni), Conte Almaviva (Le Salzburg, Florence (Maggio Musicale), Aix-en­ nozze di Figaro) and Papageno (Die ZauberfI6te); Provence, and Japan's Sa itoh Kinen festival. He the title roles in Tcha ikovsky's Eugene Onegin and has collaborated with Peter Brook (The Cherry Purcell's Dido and Aeneas; the Puccini roles Ping Orchard, The Mahabharata, The Tempest, (Turandot), Ma rcello (La boheme), and Sharpless Impressions de Pelleas, and Don Giovanni) and (Madama Butterfly); Figaro in Rossini's /I barbiere with Pierre Audi, first at London's Almeida Theatre di Siviglia, Escamillo in Bizet's Carmen, Peter in (Jakob Lenz and Golem), and later in Amsterdam Humperdinck's Hansel und Gretel, and Germont in for many of Audi's productions at DNO, as well as Verdi's La Traviata. Alexiev's frequent guest engage­ Shakespeare's Timon of Athens for Toneelgroep ments in France include the Atelier Lyrique in Amsterdam. In 1995 he made his debut with Het Tou rcoing and the opera houses of Lille, Avignon, Zu idelijk Toneel as set designer for Shakespeare's Nantes, Nancy and Paris, where he has worked Measure for Measure, and more recently he with conductors Jean-Claude Malgoire, Lou is designed the decor for Racine's Berenice, both Langree, and Christophe Roussel. He has per­ under the direction of Pierre Audi. Additionally he formed in Bielefeld, Brussels, Nuremburg, Prague, has provided lighting design for Richard Eyre, Graz, Berlin, and the Musikfestival im Chiemgau, Nicholas Hytner, Deborah Warner, Robert Carson, where he appeared with the Munchner and Lev Dodin. He has also created a number of Symphoniker. His recent and upcoming engage­ installations, including several with Christian ments include Meyerbeer's Robert Ie diable at the Boltanski: Die Winterreise (Pa ris, Berlin, and New Staatsoper Berli n, Rimsky-Korsakov's The Golden York at BAM), Alltage (Dresden, Lisbon), Les belles Cockerel (Nantes), Don Giovanni, Gounod's endormies (Paris), Der Rin~Funfter Ta~Der Romeo et Juliette (Nice), and Handel's Arianna in Tag danach (a collaboration with Ilya Kabakov, Creta (Halle). Berlin), and Camping (exhibition La beaute, Avignon 2000). With Heiner Goebbels he has cre­ Graciela Araya (mezzo-soprano, Ottavia) studied in ated music theater productions such as Schwarz South America, the U.S. and Europe. She began auf Weiss and Eislermaterial. In 1991 Kalman her singing career with the chorus of the University received the Laurence Olivier Award for Best of Santiago, where she appeared in the musicals Lighting Design for Richard 11/ (Richard Eyre, RNT). Fiddler on the Roof and West Side Story. Araya has He was nominated for this prize in 1992 for White sung the title role in Carmen in many of the world's Chameleon (directed by Richard Eyre, RNT) and in prominent opera houses. Her repertoire extends 1993 for A Midsummer Night's Dream (directed by from Monteverdi to Schnittke's Gesualdo. She has Robert Lepage, RNT). In 1997 Kalman was sung in Deutsche Oper Berlin productions of 20B \A/ho'c:. \A/ho

Matthus' Die Wiese von Uebe und Tod des Cornets Jesus Lopez-Cobos. Her recording of Les nuits Christoph Rilke (directed by Maximilian Schell), as d'ete with Philippe Herreweghe has received well as the leading role in Graun's Montezuma numerous awards. She has performed in DNO's (directed by Herbert Wemicke). Engagements in productions of Les brigands and L'Orfeo. Aachen and Dusseldorf followed, and she appeared at the Opera Bastille in Paris and the Metropolitan Cassandre Berthon (soprano, Val letto), born in Opera in New York (both times as Maddalena in Marseille, began studying violin at age four, Rigoletto) , the Grand Theatre de Geneve (Amastris followed by chamber music classes at the Marseille in Xerxes), Teatro La Fenice in Venice (Charlotte in Conservatoire, and singing in 1990. She won ), La Monnaie/de Munt in Brussels prizes at the Concours International de Musique (Carmen, under conductor Antonio Pappano and Fran<;aise and in 1994, the Concours International stage director Guy Joosten), the Stadttheater St. de I'UFAM headed by Dame Joan Sutherland. In Gallen (Komponist in Ariadne auf Naxos) , the 1996, at the Oper Frankfurt, Berthon made her Stadttheater Basel (lead roles in Carmen and Giulio stage debut in the role of Cherubino in Le nOlle di Cesare , directed by Herbert Wemicke), and in Figaro under the direction of Sylvain Cambreling, Stuttgart, Berlin, Cologne, Zurich, London, and which led to her performance in Frankfurt in Le Antwerp (Dora bella in Cos! fan tutte and nOlle di Figaro and Boris Godunov (Fyodor). She Maddelena in Rigoletto) . As a member of the perforrned in La Clemenza di Tito (Annio; Opera de ensemble of the Wiener Staatsoper, Araya has sung Saint-Etienne), Orphee aux Enfers by Offenbach Carmen, Octavian (Oer Rosenkavalier), Cherubino (Cupidon; Geneva and Lyon), Boris Godunov (Le nozze di Figaro), Varvara (Kata Kabanova), Lola (Fyodor; Theatre du Capitole de Toulouse with Jose (Caval/eria rusticana) , Elisabetta (Maria Stuarda) , Van Dam), Don Carlo (Tebaldo; San Francisco Siegrune (Oie Walkure) , Geschwitz (), and Opera; U.S. debut), Pia tee (Clarine/Arnour; Paris Enrichetta (/ puritani, conducted by Placido Opera debut; 1999), revived in Antwerp and Gent, Domingo). At the Wiener Volksoper she sang and L'incoronazione di Poppea (Amour/ Darnigella; Hansel in Hansel und Gretel and Orlovsky in Die 1999 Aix-en-Provence Festival under Marc Fledermaus (Wiener Festwochen 1994). Araya's Minkowski in a new production of Klaus Michael performance in this production marks her role Gruber, reprised at the Wiener Festwochen). She debut. Other DNO productions include /I Ritorno performed in Faust by Gounod (Siebel) at the d'Ulisse in Patria, Reves d'un Marco Polo , Opera de Marseille (1999) and L'Enfant et les and Capriccio. Sortileges by Ravel under Sylvain Cambreling's direction on tour in Gerrnany. Recently, Berthon Brigitte Baileys (mezzo-soprano, Nerone) made sang Cupid in Orphee aux Enfers at I,Opera her debut in 1987 at the Wiener Staatsoper as National de Lyon, to be revived at l'Opera de Nice Cherubino in Le nOlle di Figaro under conductor in 2002. Other productions include Platee in Erich Leinsdorf, a role she would later sing in Geneva, Bordeaux, and Montpellier; Les Zurich under conductor Nikolaus Harnoncourt. Mousquetaires au Couvent (Marie) at L'Opera de More "hosenrollen" followed, including Octavian Nice; and Le nozze di Figaro at the Salzburger (Oer Rosenkavalier), Idamante (/domeneo) , Festspiele, directed by Sylvain Cambreling. In con­ Nicklausse (Tales of Hoffmann), and Fragoletto (Les cert, Berthon perforrned in France in Rinaldo by brigands) in various European opera houses (La Handel, Mozart's Requiem, Monteverdi's Bastille in Paris, La Fenice in Venice, and in Madrigaux, and Haydn's Creation. She also partici­ Toulouse, Montpellier, and Amsterdam). Concert pated in a series of concerts with Les Arts and lieder repertoire includes Berg's Altenberglieder Florissants. Notable upcoming engagements and Fruhe Ueder, Reger's An die Hoffnung, include Jenufa in Nancy, Don Giovanni (Zerlina) in Mahler's Kindertotenlieder, Des Knaben Bordeaux an Liege, and the title role of Cendril/on Wunderhorn, and Das Ued von der Erde , Berlioz' in Strasbourg. Les nuits d'ete, Wagner's Wesendonk-lieder, Ravel's Sheherezade and Britten's Phaedra. Romain Bischoff (bass-baritone, Littore/Famigliare Baileys, who specializes in 20th-century repertoire, 3/Console 2) earned the Premier Prix de Chant has performed in Berlin, Hanover, Munich, Opera with Pierre Fleta at the Conservatory of Geneva, Prague, Salzburg, Rome , Spoleto, Tokyo, Liege, and a performance diploma at the Royal Buenos Aires, and the U.S. Conductors with whom Conservatory in The Hague. He studied voice with she has worked include Claudio Abbado, Vladimir Christa Ludwig, Walter Berry, and Aafje Heijnis, Ashkenazy, Philippe Herreweghe, Fabio Luisi , and and choral and orchestral conducting in Liege and 20C \ALho', \ALho

Paris. Bischoff has sung in opera houses in Oberon/A Midsummer Night's Dream, Tolomeo/ France, Belgium, Germany, Italy, and in the Giulio Cesare, and Apollo/Death in Venice. Roles Netherlands with Opera South, De Nationale were created for him by Sir Harrison Birtwistle (The Reisopera , and DNO. His repertoire includes Second Mrs. Kong) and Judith Weir (A Night at the Ullman's Der Kaiser von Atlantis, Mozart's Don Chinese Opera). He has sung at festivals including Giovanni, Janacek's The Cunning Uttle Vixen, Edinburgh, Aix-en-Provence, BBC Proms, and Schnittke's Life with an Idiot, Poulenc's Dialogues Salzburg. In concert, he has performed at Carnegie des Carmelites, Henze's EI Cimarron, Walton's The Hall , Concertgebeuw, Musikverein, Neue Bear, Pijper's Merlijn, and Martinu's Julietta. Gewandhaus, and Berlin's Philharmonie, among Bischoff has worked with conductors including others, with recitals in Frankfurt, Vienna, Reinbert de Leeuw, Hartmut Haenchen, William Amsterdam, Israel, New York, and London. Chance Christie, Mstislav Rostropovich , John Adams, and has sung on many recordings; he received a Philippe Entremonl. A recognized interpreter of Grammy award for Semele with John contemporary music, he has participated in the Nelson/Kathleen Battle. With John Eliot Gardiner Venice Biennial and sang in Tarenskeen's Death conducting, his recordings include the Bach and Love, Persians, and Elektra. He appeared Passions, Cantatas, and B Minor Mass; with Misha Mengelberg's jazz ensemble Instant Monterverdi's Orfeo and L'lncoronazione di Poppea; Composers Pool. At the Holland Festiva l he sang and Handel 's Jeptha, Tamer/ana, and Agrippina. He lead roles in The Death of Oedipus by Qu Xiasong has recorded with other conductors such as Franz (1994), and in Robert Heppener's Een ziel van Bruggen, Ton Koopman, and Nicholas McGegan. hout (1998). During the 1998/99 season he sang On his recent release for Deutsche Grammophon, lead roles in Gershwin in Blue by Mijering/de Boer, Michael Chance, the Art of Countertenor, he sings and Dark Lady by RijnderS/ Tarenskeen (DNO) . He cantatas by Vivaldi with Trevor Pinnock and the sang Aventures/ Nouvelles aventures by Ligeti in English Concert. New works have been composed Brussels, Paris, and Rouen. In 2000, he sang in for him by Richard Rodney Bennett, Alexander Wagner's Die Meistersinger von Niirnberg (DNO), Goehr, Tan Dun, Anthony Powers, John Tavener, Carmen (Dancairo; Opera South), in a music the­ and Elvis Costello, among others, expanding the ater production by Paul Koek (Holland Festival), repertoire for countertenors. He sings regularly with and Tosca (the Munt). In 2001 Bischoff sang the the viol consort Fretwork, with whom he toured title role in Le nozze di Figaro (Opera South), and Japan and the U.S. Television appearances include in Janacek's The Cunning Little Vixen (Vlaamse A Night at the Chinese Opera, Death in Venice, The Opera) . He sang in the oratorio Die Fairy Queen, the three Monteverdi operas with Hamletmaschine by Georges Aperghis (Athens DNO, Poppea with Welsh National Opera, Messiah and Stuttgart), Aventures/ Nouvelles aventures in Dublin with Sir Neville Marriner, and the South (Tonkunsthalle Zurich), and Aribert Reiman's Lear Bank Show. Recent engagements include Giulio (DNO). He will appear at festivals for contempo­ Cesare (Oviedo), Orfeo (Leipzig), Poppea (Florence, rary music such as the Percussion Festiva l in The Athens), a new production of Poppea (ENO), A Hague and in Lisbon, Berlin, and Madrid. Bischoff Midsummer Night's Dream (Glyndebeurne), St. is conductor/artistic director of the Erasmus John Passion (the Proms and concerts in France, Chamber Choir (Rotterdam) and the Cluster Germany, SI. Petersburg, and Japan). He was Artist Chamber Choir (Amsterdam). in Residence at the 2001 Lufthansa Festival (London). Forthcoming engagements include St. Michael Chance (countertenor, Ottone) studied John Passion , City of Birmingham Symphony and vocal training with Rupert Bruce Lockhart after the Berlin Philharmonic, beth under Sir Simon receiving an English degree at King's College, Rattle; European and South American tours with Cambridge where he was also a choral scholar. His Orchestra of the Age of Enlightenment; and operatic debut was in the Buxton Festiva l in Rodelinda in Munich. Chance is a visiting Professor Cavalli's Giasone, with appearances in Lyon, at the Royal College of Music. Cologne, and three seasons with Kent Opera. He has performed in Sydney, Buenos Aires, Milan, New Jean-Paul Fouchecourt (countertenor, Arnalta) York, Lisben, Oviedo, Paris, Amsterdam and London was a saxophonist and conductor until his with ROH, Glyndebeurne, and ENO. He has sung acquaintance with Cathy Berberian motivated him the title roles of Orfeo (Gluck), Giustino, Giasone , to study singing, specializing in French Baroque. and Ascanio in Alba, Ottone/L'incoronazione di With William Christie and Les Arts Florissants he Poppea , AthamaS/Semele, Andronico/ Tamer/ana, has toured Europe, Japan, the U.S. , and South 200 (continued on page 37) \A/ho'~ \A/ho (continued from page 200) America. His repertoire includes Hippolyte et (conducted by Leonard Slatkin), Albert Herring Aricie (Rameau), L'Orfeo and II Ritorno d'Ulisse in (conducted by Stuart Bedford), and Maxwell Patria (Monteverdi), Romeo et Juliette (Berlioz) , A Davies' The Martyrdom of St. Magnus. Recent Midsummer Night's Dream (Britten), Les engagements include Pirzel in Die Soldaten (ENO) , mamelles de Tiresias (Poulenc), the title role in A Child of Our Time (SI. Petersburg), the Rameau's Pia tee (RO H Covent Garden, Edinburgh Evangelist in Bach's Passionen (Great Britain) , Festival , Berkeley Festival, Opera Bastille, Vlaamse Squeak in Billy Budd (conducted by Kent Nagano; Opera), Aristee/Pluton Wrphee aux enfers, Lyon) , including a CD recording), the Adversary in Weill's L'Enfant et les sortileges (Florence), L'Heure Propheten (BBC Proms), The Rape of Lucretia espagnole (Dresdener Philharmonie), and Four (Amsterdam) , II Ritorno d'Ulisse in Patria (Lisbon servants (Tales of Hoffmann , The Metropolitan and Sydney), Provenza les in La stellidaura vendi­ Opera , ROH Covent Garden, and Orange). He has cante (Brussels), Knussen's Where the Wild worked with conductors Marc Minkowski, Rene Things Are (conducted by Oliver Knussen , includ­ Jacobs, Michel Corboz , John Elliott Gardiner, Seiji ing a CD recording), Britten's A Midsummer Ozawa, Myung-Whun Chung, Michel Plasson, and Night's Dream (Rome), War Requiem (conducted Sir Andrew Davis. Fouchecourt taught voice at the by Claus-Peter Flor in Rotterdam and Amsterdam) , National Conservatory in Paris from 1994 to Serenade and Death in Venice (both in Italy) , 1997. He appears frequently in recital , specializ­ H61sky's Die Wande (Frankfurt), and Don Ottavio ing in airs de cour, romances, and 20th-century in Don Giovanni (Rennes) . Last season's engage­ French song cycles. Recent performances include ments and future plans include Henze's Elegy for the BBC Proms in works by Szymanowski, Young Lovers (Amsterdam), Cavall i's Didone L'Enfant et les sortileges with the BBC Symphony (Lausanne), Param Vir's Broken Strings (Antwerp, Orchestra, and in the Champs-Elysees (Paris); Rouen, and Rotterdam) , Henze's Voices (with Goro in Madama Butterfly (semi-staged with the London Sinfonietta), and Britten's Serenade Boston Symphony Orchestra); the Astrologer (The (Danish with Philharmonic Orchestra). Other DNO Golden Cockerel, ROH Covent Garden); Platee productions include II Ritorno d'Ulisse in Patria , (Bastille); Britten's Les illuminations (with the BBC Gassir, Snatched by the Gods/Broken Strings, A Philharmonic and the Scottish Chamber Midsummer Night's Dream, Le nozze di Figaro , Orchestra); and Berlioz' Les huits scenes de Faust. ROSA: a Horse Drama, Eugene Onegin, Reves Future engagements include L'Enfant et les sor­ d'un Marco Polo, and Alice in Wonderland. tileges (Paris and Berlin, conducted by Sir Simon Rattle), Platee (Bordeaux), Tales of Hoffmann Thierry Gregoire (countertenor, Famigliare 1) stud­ (Geneva), Falstaff, and Torquemada and Gherardo ied with Paul Eswood, James Bowman, and Henri in the double-bill L'Heure espagnole/Gianni Ledroil. He made his debut in Le bourgeois gentil­ Schicchi (Japan). He has appeared in DNO pro­ homme (Moliere/Lully) and was a laureate of the ductions of L'incoronazione di Poppea and L'Orfeo . Yehudi Menuhin Foundation and the International Velluti Competition in Italy (1997). His opera reper­ Christopher Gillett (tenor, Nutrice) made his debut toire includes Venus and Adonis (Blow), the title as Flute in A Midsummer Night's Dream at the role in San Giovanni Battista (Stradella), Lettera ROH Covent Garden, where he subsequently sang amorosa (Monteverdi), C'est la faute a Werther Hermes (King Priam), Roderigo (Otello), Pang (Fouillaud ), Don Quichotte chez la duchesse (Turandot) , Dov (The Knot) , and Arbace (Boismortier) and L'incoronazione di Poppea. He (ldomeneol. With the Glyndebourne Touring Opera has given recitals in Europe, Japan, and Australia he has sung Ferrando (Cos! fan tutte) , the title role and has sung at music festivals such as la Chaise­ in Albert Herring, and Tichon in Kata Kabanova. Dieu, Flaneries Musicales de Reims, and Festival He sang Flute in Aix-en-Provence, Paris, Lyon , d'Art Sacre in Paris ; concert repertoire includes Montpellier, Ravenna, Turin , and with the ENO. Handel's Dixit Dominus . On his discography are Additional appearances include Scarlatti's II Cavalli's Requiem, Palestrina's Musiques Mariales, Telemaco (Nice), Michael Nyman's Noises, The Psalms of Penitence and The Lamentations by Sounds and Sweet Airs (Tokyo), Rudolf Escher's Zelenka, Gluck's Armide , Rameau 's Dardanus, and Voyages de Rimbaud (with the Royal more. He has worked with the conductors Concertgebouw Orchestra) and the world premiere Darlington, Minkowski, Nahon, Buchler, Lasserre, of Menotti's Gloria, conducted by Vladimir Colleaux, and Frisch. Recent and future engage­ Ashkenazy at the Nobel Prize concert in Oslo. His ments include the title role in Raphael, Reviens discography includes Elgar's The Kingdom (Cavana), a recital with Magdalena Kozena and 37 \1\/ h 0 'c::. \1\/ h 0 others during the season of Les Musiciens du Papagena in Die Zauberfl6te (Bordeaux, Paris) , Louvre, L'incoronazione di Poppea (Vienna and Aix­ Blondchen in Die Entfuhrung aus dem Serail en-Provence), a concert with Ensemble XVIlI-21, (Avignon), Yniold in Pelleas et Melisande and Marcello (tour of Morocco and France). (Amsterdam, Los Angeles, Venice, and Paris) , Karolka in Jen8fa (Montpellier and Amsterdam), Cynthia Haymon (soprano, Poppea) made her First Lady in Die Zauberfl6te, the title role in debut at the Virginia Opera in the title role in Thea L'Enfant et les sortileges (Paris), and Ascagne in Musgrave's Harriet, A Woman Called Moses. She Les Troyens (Salzburg). Concert repertoire compris­ then appeared in the roles of Micaela in Carmen es Handel's Messiah , Mendelssohn's Elijah (con­ (San Francisco), and as Susanna in Le nozze di ducted by Michel Corboz), Debussy's Le martyre Figaro, and Liu in Turandot (Seattle). Her European de Saint-Sebastien (conducted by Esa-Pekka debut came in 1986 as Bess in the Glyndebourne Salonen), Rameau's Les Indes galantes and production of Porgy and Bess. She then sang Liu Beethoven's Ninth Symphony (conducted by Jean­ in a Covent Garden touring production to Asia, and Claude Malgoire), La Missa Romana (conducted by later at the ROH in a production televised through­ Rinaldo Alessandrini), Mozart's Exsultate, jubilate out Europe. Haymon has also performed at the (conducted by Lord Yehudi Menuhin) and Haydn's ROH Covent Garden the roles of Bess (Porgy and Die Sch6pfung (conducted by Myung-Whun Bess), and Mimi (La boheme). Elsewhere in Chung). She has worked with conductors Kent Europe she has sung Liu (Hamburg and Munich) , Nagano, Alain Lombard, Sir Simon Rattle, and Amore in (Brussels), Pamina in James Conlon in stagings by Peter Sellars and Die Zauberfl6te (directed by Robert Wilson at the Robert Wilson. Future engagements include Bastille Opera), Micaela (directed by Jean-Pierre Jano/Jen8fa (conducted by John Eliot Gardiner at Ponnelle, with the Israel Philharmonic Orchestra the Salzburger Festspiele), Tebaldo/Don Carlos conducted by Zubin Mehta), and Coretta Scott King (conducted by Lorin Maazel), the premiere of in the musical King (with Simon Estes in London). Lovaby by Betsy Jolan and Le martyre de Saint­ On the concert stage she has appeared with the Sebastien (Orchestre National d'lle de France), a Israel Philharmonic Orchestra under Kurt Masur, concert tour of Dialogues des Carmelites (Orchestre the London Symphony Orchestra under Myung­ National du Capitole de Toulouse, conducted by Whun Chung and Michael Tilson Thomas , the Michel Plasson), reprises of Die Zauberfl6te and Cleveland Orchestra under Isaiah Jackson, and the L'Enfant et les sortileges (ONP), Ariadne auf Naxos Boston Symphony Orchestra for the world premiere (Marseille), Viva la Mama (Montpellier), and of Ned Rorem's Swords and Plowshares. She has Jemrny in William Tell (ONP). Her discography recently sung the role of Bess in Royal Albert Hall includes Les brigands conducted by John Eliot during the BBC Proms. Her recordings include Gardiner and Faure's Requiem conducted by Tippett's A Child of Our Time (with conductor Emmanuel Krivine. Le Roi makes her role debut in Richard Hickox and the London Symphony this production. With DNO, she has also performed Orchestra), a solo CD entitled Where The Music in Pelleas et Melisande and Jen8fa. Comes From: American Songs, Porgy and Bess (Grammy Award) and Mimi in La boheme. Current Clarissa Meek (mezzo-soprano, Virtu/Pallade) stud­ and future engagements include Le·ila in The Pearl ied at the Guildhall and sang with the Scottish Fishers (San Diego), Bess ( Opera and Glyndebourne Festival Choruses. She and Madrid), Liu (Dallas), Marguerite (Seattle), created the roles of Fear and Model in The Second Euridice in Orfeo ed Euridice (Leipzig) , Bernstein's Mrs. Kong at Glyndebourne and gained critical Kaddish (Rome), and Eileen in Bernstein's acclaim for her performance of Madam Larina Wonderful Town (in a concert performance with the (Eugene Onegin). Other roles include Tisbe (La Rotterdam Philharmonic Orchestra under conductor Cenerentola) , Maddalena (Rigoletto) , and Kate Wayne Marshall). She has also performed in DNO's Pinkerton (Madama Butterfly). Meek has recently La boheme. turned her attention to the Barocue mezzo-sopra­ no/contralto repertoire, including Penelope (The Gaele Ie Roi (soprano, Amore/Damigella) won the Return of Ulysses) and Gluck's Orfeo. She has por­ Yehudi Menuhin Foundation prize and thereafter trayed Mother (Misper) at Glyndebourne, Alcrnene made her singing debut in Lyon. There she sang in (Die Uebe der Danae) at Garsington, and Marthe Les brigands, L'Enfant et les sortileges, (Faust) with Mid-Wales Opera. Recent engage­ (Fire/Nightingale) and Dialogues des Carmelites ments include Katisha (The Mikado) for Grange (Soeur Constance). Other repertoire includes Park, Madam Larina (Eugene Onegin) for Pimlico 38 \A/ho', \A/ho

Opera, and Second Squire at ROH . Future renard (Frankfurt, Vienna, and Berlin). Opera plans include Mrs. Grose (The Turn of the Screw) repertoire includes Cascada in The Merry Widow for Grange Park Opera . (ROH Covent Garden); Jacquino in Fidelio (ENO); Tybalt in Romeo et Juliette (Vlaamse Opera); Terry Sandrine Piau (soprano, Drusilla) has worked in Bond (title role), Benedict Mason's Playing Away the field of early music with specialists such as (both with Opera North); Ferrando in Cos1 fan Philippe Herreweghe, Christophe Rousset, Gustav tutte (Opera Northern Ireland); Susannah Leonhardt, Rene Jacobs, Fabio Biondi, Jean­ (Nantes); Belmonte in Die Entfuhrung aus dem Claude Malgoire, William Christie (Aix-en-Provence, Serail; Tam ino in Die Zauberfl6te , Lenski in ROH Covent Garden), Paul McCreesh, Ton Eugene Onegin (Lucerne); and the Schoolmaster Koopman, and Marc Minkowski. She has sung in The Cunning Uttle Vixen (CBTO). Recent opera roles such as First Lady and Pamina (Die engagements include Don Ottavio in Don Giovanni Zauberfl6te) , Lucia (The Rape of Lucretia), and the title role in Pel/eas et Melisande under Zerbinetta (Ariadne auf Naxos) , Servilia (La conductor Georges Pretre (Pa ris), Male Chorus in clemenza de Tito by both Gluck and Mozart), The Rape of Lucretia (Nantes), Delmonte in Un Ismene (Mitridate) , Titania (A Midsummer Night's giomo di regno (ROH Covent Garden) , Tobias and Dream), Annchen (Der Freischutz), Atalanta the Angel (Alrneida Festival , London), Satyricon (Serse) , and Asteria (Tamer/ano). She has worked (Wien modern), Fenelons in Le jardin d'hiver with conductors Kent Nagano, Myung-Whun (Ensemble Intercontemporain, Paris), Der Chung, Stuart Bedford , and Baroque specialists Apotheker (Vienna), the title role in Bastien et Rousset and Malgoire. She has performed in Lyon, Bastienne , Strefon in Iolanthe (CBSO), and Bach's Paris, Geneva, Bordeaux, Montpellier, and Weihnachsoratorium (Britten Sinfonia). Future Drottningholm. Concerts include L'Enfant et les sor­ engagements include Basilio (Glyndebourne tileges (conducted by Chung in Florence) and Touring), Forest Murmur (Opera North), and a CD Jeanne d'Arc au bDcher (conducted by Kurt Masur of Handel's Messiah (ESO). in Berlin). Future engagements include Konstanze (Die Entfuhrung aus dem Serail, Bordeaux), Andrea Silvestrelli (bass, Seneca) graduated from Scarlatti's 1/ trionfo del/'Onore (Palermo), Carolina the Rossini Conservatory of Pesaro where he stud­ (Cimarosa's 1/ matrimonio segreto, Paris), the ied alongside Gustav Kuhn, with whom he still reprise of Tamerlana (Drottningholm), and numer­ sings. A winner of numerous vocal competitions, ous concerts in Europe, Japan, and the U.S., his repertory includes Die Meistersinger von including a Bach/Mozart progra m and Bach can­ Numberg, La boheme, La sonnambula, Rigoletto, tatas (CD recording) with Ton Koopman Don Carlo, La favorita, Die Zauberfl6te, Don (Amsterdam), and Die Sch6pfung with Frans Giovanni, La damnation de Faust, Ariadne auf Bruggen (Paris). Piau also appears regularly on the Naxos, Nabucco, , Donna senz'ombra, 1/ pri- recital stage, with Jos van Immerseel in French and . gioniero by Dal/apiccola, I Capuleti e i Montecchi, German lieder (in Bruges), and with Claude Lavoix, Falstaff, Parsifal, Turandot, Tannhauser , Verdi's Roberto Negri (Teatro alia Scala, Milan), Billy Eidi, ateI/o, and Norma. He has performed operas with David Selig, and Christia n Ivalid (Chatelet, Paris). conductors including Riccardo Muti , John Eliot Recordings include Arie et duetti d'amore, Gardiner, Myung-Whun Chung, Zubin Mehta, and Messiah, Scipione, and Riccardo Primo (all by Claudio Abbado at venues across Italy as well as at Handel); Mitridate (Mozart); and songs by Delage. RO H Covent Garden, Scottish Opera, and in Future recordings include Mozart arias with the Philadelphia. His concert repertoire includes Freiburger Barokorkester. She has performed Puccini's Messa di Gloria, Mahler's Eighth with DNO in L'incoronazione di Poppea Symphony, Rossini's Stabat Mater, and Verdi's (Amore/Damigella). Messa da requiem. In 1998/9 Silvestrelli sang in Norma (San Francisco Opera), Carmen (Tokyo), 1/ Philip Sheffield (tenor, Liberto Capitano/ Soldato Ritomo d'Ulisse in Patria (Athens and Florence 2/Tribune 2) studied at the Guildhall School of with Trevor Pinnock), ateI/o (DNO) , and Turandot Music and Drama and at the Royal College of (Rome). In 1999/2000 he debuted at the Music. His concert repertoire includes Elgar's The Bayerische Staatsoper of Munich in ateI/o with Dream Of Gerontius (Brussels), Britten's Serenade Zubin Mehta, and performed in Aida (Teatro (Amsterdam) and Nocturne (Berlin), Haydn's Comunale di Firenze), Penderecki's The Devils of L'isola disabitata (Vienna), Schreker's Der Loudun (DNO), Assassinio nella cattedrale (Teatro Schatzgraber (Amsterdam), and Stravinsky's Le Regio di Torino), and Falstaff (Minneapolis) . Recent 39 \/\Lho', \/\Lho

engagements include Rigoletto (Sparafucile; Lyric Elena Vink (soprano, Fortuna) completed her Opera of Chicago); Le nozze di Figaro (Bartolo; studies at the Royal Conservatory in The Amsterdam); Falstaff (Bologna); and Falstaff, Hague. She was laureate at the International Lohengrin, Lear, and Das Rheingold ( Vocal Competition in Hertogenbosch, and made di Torino). Future performances include Don her successful debut at the festival in Aix-en­ Giovanni at ROH Covent Garden, II pirata at the Chatelet in Paris, Don Giovanni, Le nozze di Figaro, Provence as Der Weltgeist in Mozart's Die Der Ring des Nibelungen, Das Rheingold and Schuldigkeit des ersten Gebots. Thereafter she Rigo/etto at Lyric Opera of Chicago, L'incoronazione appeared as Queen of the Night (Die di Poppea and Macbeth with DNO, Rigo/etto in Zauberfldte) in numerous opera houses, Las Palmas, Don Carlo in Graz and Assassinio nella including Lausanne, Bordeaux, Oslo, Nancy, cattedrale in Rome . Silvestrelli's discography Brussels, Berlin, and Paris. Her repertoire includes Don Giovanni conducted by John Eliot includes the roles of Nedda (Pagliacci) , Madam Gardiner (DGG) awarded a Grammy (1995), and Herz (Der Schauspieldirektor) , Donna Anna Haydn's L'anima del filosofo (Decca, 1996). (Don Giovanni), the title ro le in Lucia di Mark Tucker (tenor, Lucano/Soldato l/Famigliare Lammermoor, Konstanze (Die EntfGhrung aus 2/Tribune 1) has sung the title role in L'Orfeo dem Serai!) , Euridice (Orphee aux enfers), (Bruges, Verona, Barcelona, and Mantua), Oscar (Un ballo in rnaschera) , Cunegonde Danzeney in the world prem iere of Piet Swert's Les (Candide), and Ade le (Die Fledermaus) . In liasons dangereuses (Vlaamse Opera), Gomatz in contemporary music, Vink has appeared at the Zaide (La Monnaie/De Munt in Brussels and Festival dei due Mondi in Spoleto and Rome, Opera du Rhin), Tom Rakewell in The Rake's and at the Hamburg Opera in Luigi Non's AI Progress (Opera Factory), Enea in Didone (Scottish gran sole carico d'amore, during the Biennale Early Music Consort), Lysander in A Midsummer in Hannover, and at the Holland Festival in Night's Dream (Turin), Novice in Billy Budd (ROH Covent Garden), Nerone in L'incoronazione di Amsterdam. She has performed in DNO's pro­ Poppea (Camerata de Caracas), Marzio in ductions of Un ballo in maschera, 1990; La Mitridate (conducted by Christophe Rousset at the Wally, 1993; "Ritorno d'Ulisse in Patria, Chatelet, Paris), Ecclitico in II mondo della luna 1990, 1991, and 1993; L'incoronazione di (Garsington Opera), Weill's Der Kuhhandel (BBC Poppea, 1993; L'italiana in Algeri, 1995; and Concert Orchestra), and Desmarest's Didon . His Alice in Wonderland, 2001. concert repertoire includes Mendelssohn's Paulus and Berlioz' Requiem, concert arias by Mozart, Abbreviation key Haydn's Paukenmesse, Ravel's L'Enfant et les sor­ CBTO = City of Birmingham Touring Opera ti/eges, Britten's Les illuminations, Handel's Judas DNO = Dutch National Opera Maccabaeus and Messiah, Beethoven's Ninth (De Nederlandse Opera) Symphony, Mendelssohn's Lobgesang and Bach's EN O = English National Opera Mass in B minor. Tucker's discography includes A ESO = English Symphony Orchestra Midsummer Night's Dream (conducted by Sir NDT = Netherlands Dance Theatre Colin Davis); Shostakovich's Six Romances on ONP = Opera National de Paris Japanese Poems (Otaka), L'lncoronazione di ROH = Royal Opera House Poppea (Gardiner), Bach's Mass in B minor, RNO = Royal National Opera Fennimore and Gerda, songs by Percy Grainger RNT = Royal National Theatre (all three conducted by Hickox); and Bach's Mass in B minor conducted by Martin Pearlman. Current Extras: Anne-Marie Caillet, Andrij Dobriansky, engagements include Handel's Saul (Israel Yarko Dobriansky, Tasha Guevara, Daman Harun, Camerata), Tippett's A Child of Our Time (BBC Vernon Jenkins, Zack Kron, Salvador Lopez, Symphony Orchestra), II combattimento di Orest Ludwig, Richard Malone, Patricia McCurdy, Tancredi e Clorinda (Gabrieli consort), Messiah John Russo, Ade Torbert, Shakir Torbert (Boston Baroque), and Monteverdi's Vespers (Rundfunk-Sinfonieorchester Berlin). He has also performed in DNO's II Ritorno d'Ulisse in Patria.

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